File:Six Greek sculptors (1915) (14597010849).jpg

Identifier: sixgreeksculptor00gard (find matches)
Title: Six Greek sculptors
Year: 1915 (1910s)
Authors: Gardner, Ernest Arthur, 1862-1939
Subjects: Sculptors Sculpture, Greek
Publisher: London : Duckworth and Co. New York : C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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heLateran at Rome; more than one example exists ofsome of the figures, notably the fine Chiaramontistatue in the Vatican, which represents one of thedaughters advancing rapidly; her rich, flowing draperyis treated in a more impressive, but less simple, stylethan we see in most of the figures at Florence:it shows, indeed, something of the restless and tem-pestuous character we often find in Hellenistic work.It is, however, more vigorous and spirited than thecorresponding statue at Florence ; yet those who main-tained a fourth-century origin for the group wereconstrained to regard it as less faithful to its originalthan the tamer copies. The discussion has, however,been much widened in scope by the discovery, oridentification, due to Professor Furtwangler, of a set ofstatues of Niobids which belong to about the middleof the fifth century; and these not only deal with thesame subject, but repeat some of the identical groupsand figures which we see in the later set, though the Plate LXXIY
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DISC WITH DEATH OF NIOBIDS, IN BRITISH MUSEUM To face p. 241 HELLENISTIC SCULPTURE 241 style and execution are totally different. This neednot surprise us, when we remember that the subject ofthe slaying of the Niobids occurs on fifth-century vases,that it was represented by Phidias on the throne ofthe Olympian Zeus, and that it is frequently repeatedupon later reliefs; for example, upon the marble discnow in the British Museum, and here reproduced.Upon these various works we find the same figures—that is to say, figures in the same position and action—recurring again and again. It seems that each artistselected from a repertoire of figures appropriate tothe scene those that best suited his composition, andcarried them out in detail according to his own styleand technique. Whether Scopas or Praxiteles con-tributed anything directly to the treatment of thegroup it is hard to say. But the extant figures seemmostly to belong to a set that were mounted upon arocky basis, suggesting th

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