Greek bronzes . ). In any case it is an archaic Greek element whichpredominates in our statuette. The girdle round the waist, with its threeclasps fastened in front, corresponds perfectly to archaic bronze girdles inthe British Museum. The short chiton, drawn tightly across the body andgathered in folds at the sides, was not worn by Heracles except in archaicGreek art of about the sixth century The short body of the figure,in striking contrast to the long massive legs, is obviously archaic. Equallyso is the manner of standing with both feet flat on the ground. The wayin which the lion*s s
Greek bronzes . ). In any case it is an archaic Greek element whichpredominates in our statuette. The girdle round the waist, with its threeclasps fastened in front, corresponds perfectly to archaic bronze girdles inthe British Museum. The short chiton, drawn tightly across the body andgathered in folds at the sides, was not worn by Heracles except in archaicGreek art of about the sixth century The short body of the figure,in striking contrast to the long massive legs, is obviously archaic. Equallyso is the manner of standing with both feet flat on the ground. The wayin which the lion*s skin is worn, the head of the lion fitting like a cap onthe head of Heracles, is archaic, but not exclusively so. It lasted on tolater times, yet we may fairly rank it also with the other archaic elementsof the figure. The lions skin is twisted round the left arm like a pieceof drapery instead of skin. That we must set down as a mistake. Asregards the forcible action of the left hand with the fingers tightly com-. Fig. 38.—Heracles. Found in Cumberland. British Museum. GREEK BRONZES 93 pressed, the only explanation I can find is from an archaic Etruscan bronzein the British Museum where Heracles grips with his left hand the tail ofthe lions skin exactly in this manner. The right hand, which is raised,has held a club. The only non-archaic feature in our statuette is theface, which is strikingly of the type that came into Greek art at the timeof Alexander the Great, and, as such, might have been familiar to Gaulishsculptors, on coins or otherwise. For these reasons our statuette is peculiarly interesting. It showshow a phase of Greek art, which had been abandoned for centuries inGreece itself, had survived in specimens brought to Gaul or Britain, andhad there appeared to native sculptors as a new light on their path, muchas the archaic pre-Raphaelite painting of Italy appealed to our country-men not so long ago. The statuette is cast solid, and in this respect mayperhaps serve a
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectbronzesgreek, bookyea
