File:Handbook of archaeology, Egyptian - Greek - Etruscan - Roman (1867) (14781404565).jpg

Identifier: handbookofarchae00west (find matches)
Title: Handbook of archaeology, Egyptian - Greek - Etruscan - Roman
Year: 1867 (1860s)
Authors: Westropp, Hodder M. (Hodder Michael), -1884
Subjects: Art, Ancient Archaeology
Publisher: London, Bell and Daldy
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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he younger Attic school, by which he was frequentlysculptured. The god was now conceived altogether younger, with-out any sign of manly ripeness, as a youth not yet developed intomanhood, in whose forms, however, the tenderness of youth seemedwonderfully combined with massive strength. The longish ovalcountenance, which the bow of the hair (crobylus) above the fore-head often lengthened still more, and which served as an apex tothe entire upstriving form, has at the same time a soft fulness andmassive firmness; in every feature is manifested a lofty, proud, andclear intelligence, whatever the modifications may be. The formsof the body are slender and supple; the hips high, the thighslengthy; the muscles without individual prominence, rather fusedinto one another, are still so marked as that agility, elasticity ofform, and energy of movement, become evident. However, theconfiguration here inclines sometimes more to the gymnasticstrength of Hermes, sometimes to the effeminate fulness of
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MYTHOLOGY OF SCULPTURE. 169 Dionysus. According to Winkelman, the highest conception ofideal male beauty is especially expressed in the Apollo, in whomstrength of adult years is found united with the soft forms of themost beautiful spring-time of youth. The artistic representationsof this deity may be given as the following:— 1. Apollo Callinicos having just slain his adversary, Python or Tityos, his countenance still expressive of anger anddisdain, and noble pride of conquest; as in the ApolloBelvidere. 2. The god reposing from battle, his right arm resting on his head, and the quiver, with closed lid hanging beside him;as in the Apollino, of the Florentine Gallery. o. The lyre-playing Apollo (Citharsedus), who appears vari-ously costumed, although a complete envelopment in thechlamys here prevails, as in the Apollo Citharsedus of theVatican. 4. The Pythian Agonistes. In this the drapery is perfectedinto the solemn and gorgeous costume of the PythianStola, exhibiting at the same ti

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