DOI Page / Citation link:
https://doi.org/10.11588/diglit.1755#0070
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ANCIENT MODES OF REPRESENTING THE HAIR. 43
or to mark a particular arrangement; but the first definite indication may be
seen in parallel lines slightly waved, thus. „_ This perhaps expressed the
delicate flowing hair; but a crisper and III' more knotty kind suggested
a number of round dots j^> strewn closely over the head. These were
afterwards employed in a row, to represent long plaited hair, such
as we have seen in fuller detail in Figs. 22 and 70. These are to be seen %/i
on an ancient coin of Terpilla, in Macedonia, or in larger masses, as in
^gstc the clumsy figures upon coins of Lete, also in Macedonia. The
°°'° two methods are united in the coin of Gelas, already shown in Kg. 81,
where the human beard is marked by lines, and the bull's head and neck
covered with globules. A more graceful undulation, was introduced in the
hair of the nymph Arethusa, I upon the coins of Syracuse, where the
lines are wavy, and stroncrlv §P>M bent, both at the back of the head and
over the brow. In the coins of Athens, the hair seen under the helmet
of Minerva is marked with parallel lines, thus, ..j^. but lapping over one
another, as in Fig. 87. A conventional ^%s^ formality thus arose,
• life
in which artificial plants are introduced, as ^ in the sitting figure
of Minerva, which were more easily represented.than flowing tresses. The female
stepping into a chariot has the hair marked by a series of crisp undulating
lines, such as are used in the same sculpture to represent the texture of the
stuff of which her sleeve is made, and which looks very like the chain armour
worn by our own early knights in church monuments. This last peculiarity
is especially observable in the hairy figures from the monument at Xanthus.
The bronze statue (Fig. 79) has the hair in parallel lines, except on the forehead,
where they terminate in a row of long-drawn locks; not what we term corkscrew,
but with a round curl at the end of each. These constitute the leading pecu-
liarities, at this period, of one of the most difficult branches of art—the repre-
sentation of human hair. Flaxman has observed most truly, that the first
essays of Grecian art, in the heroic age, prove that they were neither stronger
nor swifter than other nations; but their improved imitation of nature, founded
on the sure principles of science, left their competitors at a distance not to be
recovered ; and the ability and zeal with which they pursued the advantage thus
gained gave them beyond dispute possession of the palm,
rv.—fromthkde- iEgina was the hitter enemy of the Athenian State; and
ieat of xhb-pkb- sjle wag aft . ft (Jisastrous war compelled to surrender her
SIANS, B.C. 46G, TO l
me death of independence B.C. 455. At a still later date, namely, in 431,
her entire population was expelled by the Athenians, and
replaced by settlers from Attica. From that period the island never regained
its former importance. Early iEginetan art was characterised by a peculiar
rigidity of style, a sharpness resulting most probably from the frequent use of
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w
»i
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ANCIENT MODES OF REPRESENTING THE HAIR. 43
or to mark a particular arrangement; but the first definite indication may be
seen in parallel lines slightly waved, thus. „_ This perhaps expressed the
delicate flowing hair; but a crisper and III' more knotty kind suggested
a number of round dots j^> strewn closely over the head. These were
afterwards employed in a row, to represent long plaited hair, such
as we have seen in fuller detail in Figs. 22 and 70. These are to be seen %/i
on an ancient coin of Terpilla, in Macedonia, or in larger masses, as in
^gstc the clumsy figures upon coins of Lete, also in Macedonia. The
°°'° two methods are united in the coin of Gelas, already shown in Kg. 81,
where the human beard is marked by lines, and the bull's head and neck
covered with globules. A more graceful undulation, was introduced in the
hair of the nymph Arethusa, I upon the coins of Syracuse, where the
lines are wavy, and stroncrlv §P>M bent, both at the back of the head and
over the brow. In the coins of Athens, the hair seen under the helmet
of Minerva is marked with parallel lines, thus, ..j^. but lapping over one
another, as in Fig. 87. A conventional ^%s^ formality thus arose,
• life
in which artificial plants are introduced, as ^ in the sitting figure
of Minerva, which were more easily represented.than flowing tresses. The female
stepping into a chariot has the hair marked by a series of crisp undulating
lines, such as are used in the same sculpture to represent the texture of the
stuff of which her sleeve is made, and which looks very like the chain armour
worn by our own early knights in church monuments. This last peculiarity
is especially observable in the hairy figures from the monument at Xanthus.
The bronze statue (Fig. 79) has the hair in parallel lines, except on the forehead,
where they terminate in a row of long-drawn locks; not what we term corkscrew,
but with a round curl at the end of each. These constitute the leading pecu-
liarities, at this period, of one of the most difficult branches of art—the repre-
sentation of human hair. Flaxman has observed most truly, that the first
essays of Grecian art, in the heroic age, prove that they were neither stronger
nor swifter than other nations; but their improved imitation of nature, founded
on the sure principles of science, left their competitors at a distance not to be
recovered ; and the ability and zeal with which they pursued the advantage thus
gained gave them beyond dispute possession of the palm,
rv.—fromthkde- iEgina was the hitter enemy of the Athenian State; and
ieat of xhb-pkb- sjle wag aft . ft (Jisastrous war compelled to surrender her
SIANS, B.C. 46G, TO l
me death of independence B.C. 455. At a still later date, namely, in 431,
her entire population was expelled by the Athenians, and
replaced by settlers from Attica. From that period the island never regained
its former importance. Early iEginetan art was characterised by a peculiar
rigidity of style, a sharpness resulting most probably from the frequent use of
i
(&
w
»i
\