DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1755#0096
PHIGALEIAN MARBLES.
63
of the temple at Olympia.—fragments from the metopes of which only remain.
Aloamenes rashly entered into competition with his master, and failed, as
might have been expected, from his want of experience.
Another work of this period, to which only slight allusion has hitherto
been made,—the Temple of Apollo at Bassoe,—deserves mention. Ictinus, the
architect of the Parthenon, was also the architect of this building, and the
sculptures are presumed to have been designed by Phidias; but they breathe
a totally different feeling, both in composition and execution, to the marbles
of the Parthenon. Like the sculptures of the Theseum, they are in bold
relief, but in execution very unequal. The back-ground, unlike that of the
Parthenon, is open between the figures; and the space is filled up by waving
drapery, consisting frequently of curved lines or flourishes, by way of ornament.
Many of
the drapery
folds are
very pecu-
liar (Fig.
134). The
form of the
limbs are
round and
fleshy; but,
with the ex- I-----g
ception of
some female figures and a group of wounded Amazons, they are deficient
in the characteristics of a refined period of Art. Some of the figures and
groups are similar to those on the frieze of the Theseum, but inferior in
execution. These sculptures are also treasured in the British Museum, and
are known by the name of the Phigaleian marbles. A smaller series of sculp-
tures, very different in character to the preceding group, belongs to the temple
of the Wingless Victory,
which has generally been
attributed to the time
of Oimon. In style these
figures have a great re-
semblance to the monu-
ment of Lysicrates. One
group, which has been
chosen for illustration
here, (Fig. 135), is unquestionably a battle between Greeks and Persians; the
63
of the temple at Olympia.—fragments from the metopes of which only remain.
Aloamenes rashly entered into competition with his master, and failed, as
might have been expected, from his want of experience.
Another work of this period, to which only slight allusion has hitherto
been made,—the Temple of Apollo at Bassoe,—deserves mention. Ictinus, the
architect of the Parthenon, was also the architect of this building, and the
sculptures are presumed to have been designed by Phidias; but they breathe
a totally different feeling, both in composition and execution, to the marbles
of the Parthenon. Like the sculptures of the Theseum, they are in bold
relief, but in execution very unequal. The back-ground, unlike that of the
Parthenon, is open between the figures; and the space is filled up by waving
drapery, consisting frequently of curved lines or flourishes, by way of ornament.
Many of
the drapery
folds are
very pecu-
liar (Fig.
134). The
form of the
limbs are
round and
fleshy; but,
with the ex- I-----g
ception of
some female figures and a group of wounded Amazons, they are deficient
in the characteristics of a refined period of Art. Some of the figures and
groups are similar to those on the frieze of the Theseum, but inferior in
execution. These sculptures are also treasured in the British Museum, and
are known by the name of the Phigaleian marbles. A smaller series of sculp-
tures, very different in character to the preceding group, belongs to the temple
of the Wingless Victory,
which has generally been
attributed to the time
of Oimon. In style these
figures have a great re-
semblance to the monu-
ment of Lysicrates. One
group, which has been
chosen for illustration
here, (Fig. 135), is unquestionably a battle between Greeks and Persians; the