1000 Scupltures of Genius. Patrick Bade

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      In the caryatid, the column takes its most ornate form, replaced entirely by the statue of a woman. It decorates the porch of the Erechteion, a temple to Athena on the Acropolis in Athens, built to replace one destroyed by the Persians. In its form and decoration, this temple deviates from tradition, including not only the unusual caryatids, but also an asymmetrical plan on varying ground levels, with two porches jutting out of the main building. This atypical plan was due to the multiple shrines incorporated into the temple, and also to its placement on an uneven rocky outcrop, home to the original olive tree given to the city by Athena. The six caryatids supported the south porch, one of the unusual additions to the regular temple plan. The caryatid figures have all the solidity of form we find in other fifth-century sculpture, and therefore seem up to the task of supporting a roof. The exaggerated shift in weight, and the clinginess of the drapery, are typical of sculpture of the end of the fifth century B.C.E.

      72. Anonymous. Wounded Amazon, Roman copy after a Greek original created around 440–430 B.C.E. by Polykleitos. Marble, h: 202 cm. Musei Capitolini, Rome (Italy). Greek Antiquity.

      The Amazons are known from Greek mythology as great warriors. Like the flipside of the Greek world, in Amazon society it was the women who hunted and fought wars; in some versions of the myth no men were allowed in their society, in other versions, men were present, but charged with domestic duties. In Greek art, Amazons are usually shown in battle against the Greeks. Since the women warriors represented a reversal of the norms of Greek society, it is thought that the images of Amazons may have been metaphors of the Persians, enemies of the Greeks, inhabitants of the east, and “others” in the same way the mythological Amazons were unknown, mysterious enemies of the Greeks.

      73. Anonymous. Artemis, east frieze, Parthenon, Athens (Greece), c. 438–432 B.C.E. Marble, h: 100 cm. The British Museum, London (United Kingdom). Greek Antiquity.

      74. Anonymous. Draped Woman Seated, tombstone (fragment), c. 400 B.C.E. Marble, h: 122 cm. The Metropolitan Museum of Art, New York (United States). Greek Antiquity.

      75. Paionios of Mende, Greek. Nike, c. 420 B.C.E. Marble, h: 290 cm. Archaeological Museum, Olympia (Greece). Greek Antiquity.

      76. Anonymous. Nike, balustrade, Temple of Athena Nike, Athens (Greece), c. 420–400 B.C.E. Marble, h: 101 cm. Acropolis Museum, Athens (Greece). Greek Antiquity.

      The Nike, or winged victory, was a companion to Athena, often shown following the goddess, or held in her hand. This figure is from the Temple to Athena Nike, from a frieze along the balustrade, or low wall surrounding the temple. Along this long frieze, the Nike figure was shown repeatedly in a variety of poses, setting up trophies and offering sacrifices. This fragment captures Nike in an unguarded moment, adjusting her sandal. This casual action is indicative of how the Greeks saw their gods – humanlike, imperfect, and subject to foibles and folly. Here, her movement also provides the sculptor with the opportunity to emphasise the elaborate folds of drapery that gather over her arm and across her bent legs.

      77. Anonymous. Capitoline She-Wolf (Romulus and Remus), 5th century B.C.E. Bronze, h: 75 cm. Musei Capitolini, Rome (Italy). Etruscan Antiquity.

      Rome emerged into greatness from a history as a small city within an Italy largely controlled by Etruscans. This historical past was not glorious enough for the Romans, however, who preferred a mythological tale of the founding of the city. In that story, two brothers, Romulus and Remus, descendents of the heroes of the Trojan War & of the god Mars, were abandoned near the Tiber River. They were suckled by a she-wolf and therefore survived. Later, they founded the city of Rome, but they quarrelled; Romulus killed Remus, and went on to rule Rome. In this piece, two babies are shown suckling at the teats of a she-wolf. The babies were added during the Renaissance, so we cannot identify the piece with certainty as a depiction of Romulus and Remus. It does, however, date to the very early years of the Roman Republic, so it may be an image of that founding myth. Ironically, the piece is the work of an Etruscan artist, reflecting the very heritage that the Romans wished to deny.

      78. Anonymous. Chimera of Arezzo, c. 380–360 B.C.E. Bronze, h: 80 cm. Museo Archeologico di Firenze, Florence (Italy). Etruscan Antiquity.

      The Chimera was a mythical creature, a composite of a lion’s head and body, a snake for a tail, and a second head, of a goat, emerging from its back. A powerful monster, it was thought to bestow evil upon anyone who saw it. Its origin was Lycia in Asia Minor, but this depiction of the monster comes from Etruria in Italy, which had been greatly influenced by the cultures of the Near East via trade and exchange. It showcases the metalworking talent of the Etruscans. The artist has СКАЧАТЬ