Six Greek sculptors . APOLLO, IN THE MUSEO DELLE TERMEAT ROME To face p. 114 Plate XXXI. HEAD OF APOLLO, IX THE MUSEO DELLE TERME AT ROME Tojacep. 115 ? PHIDIAS 115 shows a charming figure of the youthful god, in poseand proportions very like the figures from the Parthe-non frieze. The hair and face also, allowing for theirmore careful execution, show the same affinities. Thetype is a more advanced example of that we see in theChoiseul Gouffier Apollo and the Iacchus of the BritishMuseum, but lighter and more graceful. It has beensuggested that we should see here an early work ofPhidias; and i
Six Greek sculptors . APOLLO, IN THE MUSEO DELLE TERMEAT ROME To face p. 114 Plate XXXI. HEAD OF APOLLO, IX THE MUSEO DELLE TERME AT ROME Tojacep. 115 ? PHIDIAS 115 shows a charming figure of the youthful god, in poseand proportions very like the figures from the Parthe-non frieze. The hair and face also, allowing for theirmore careful execution, show the same affinities. Thetype is a more advanced example of that we see in theChoiseul Gouffier Apollo and the Iacchus of the BritishMuseum, but lighter and more graceful. It has beensuggested that we should see here an early work ofPhidias; and it may well represent the stage that hadbeen reached by Attic sculpture at the beginning of itsnew inspiration under its greatest master. It is interesting to compare with this the reflection ofthe same influence on a piece of sculpture found faraway from Athens, the so-called Lycian Sarcophagusfrom Sidon. Here we have a work made for an easternprince by a Greek artist who probably was one of thosewho worked with Phidias upon the Parthenon, and caught both the spirit of the
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Keywords: ., bookcentury1900, bookdecade1910, bookpublis, booksubjectsculptors
