File:Greek bronzes (1898) (14773523831).jpg

Identifier: greekbronzes00murr (find matches)
Title: Greek bronzes
Year: 1898 (1890s)
Authors: Murray, A. S. (Alexander Stuart), 1841-1904
Subjects: Bronzes, Greek
Publisher: London : Seeley and Co. New York : Macmillan
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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Fig. 12.—Etruscan Mirro?. British Museu?n. we see him on archaic Greek vases, and it is possible that so far the figurehas been based on Perseus. But apart from the identification of the figureon the mirror, I think we have already seen enough to recognise in it astriking combination of the influence of Greek drawing and Etruscanindividuality. On the other mirror (Fig. 13), the central figure is again one of thosemuch-winged beings of archaic art—Greek as well as Etruscan. Thepeculiarity in this instance is that the wings spring from her waist and not 34 GREEK BRONZES from the shoulders, which is perhaps just as natural, and may be regarded asa variant on those archaic Greek figures where the wings spring from thechest. The wings on her shoes are much exaggerated in size. Equallyexaggerated is the action of holding out the skirt with the right hand, and
Text Appearing After Image:
Fig. 13.—Archaic Etruscan Mirror. British Museum. yet the series of long narrow folds formed thereby is quite attractive in itsway. It is a curious action, that of the left hand raised over the shoulderto take hold of, or receive, something which the boy behind her appears tohold up. It is curious, because of its representing an action still goingon, in contrast to the completed action shown in the holding of the skirt,the position of the wings, and the general attitude of the figure. I have GREEK BRONZES 35 spoken of a boy standing behind her. It is, however, possible that thisand the other figure in front are not boys, but men represented on adiminutive scale, as was usual, among the Greeks at least, when theywished to indicate mortals in presence of a deity. Of that there is anabundance of examples on the Greek reliefs, and this is the more likelyto be the true interpretation because the raising of the arms of the twodiminutive figures is peculiarly the action of adorantes or sup

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