Six Greek sculptors . oins of the city, and by their help it has beenpossible to recognise extant copies of it, one in theVatican and one in Munich. The photograph of theVatican copy here reproduced is taken from a cast;those familiar with the original in the Vatican may beconfused by the tin drapery placed around its are also several other copies or variants of thehead alone, some superior in workmanship to either ofthe complete statues. It is somewhat difficult to deter-mine whether all or any of these are to be regarded ascopies of the Cnidian statue. Praxiteles had many pupilsan
Six Greek sculptors . oins of the city, and by their help it has beenpossible to recognise extant copies of it, one in theVatican and one in Munich. The photograph of theVatican copy here reproduced is taken from a cast;those familiar with the original in the Vatican may beconfused by the tin drapery placed around its are also several other copies or variants of thehead alone, some superior in workmanship to either ofthe complete statues. It is somewhat difficult to deter-mine whether all or any of these are to be regarded ascopies of the Cnidian statue. Praxiteles had many pupilsand imitators whose work came very near to his ownin character, though they probably missed his inimitablefinish and distinction; and it is probable that some ofthese heads, especially those of Greek period, are tobe regarded rather as variations upon the type whichPraxiteles had established, while one of them, thePetworth head, is regarded by Furtwangler as anoriginal by Praxiteles himself. We may make use of Plate XLV. APHRODITE OF CXIDUS, AFTER PRAXITELES, IN VATICAN (FROM A CAST) To face p. 152 PRAXITELES 153 all this evidence, with due reserve, as giving us a generalnotion of the Aphrodite of Praxiteles, though we cannotbe sure what details are derived from the Cnidianstatue; and we must also remember that several otherstatues of the goddess by Praxiteles are recorded,although none of them approached the Cnidian infame. As to the pose and motive of the statue theextant copies give us sufficient evidence. The goddesswas represented as nude ; and an explanation of hernudity was supplied by the indications that she is pre-paring for the bath ; her garment is just slipping downfrom her left hand on to a vase that stands beside holds her right hand in front of her body, as if halfconsciously shrinking from the complete unveiling of herbeauty. The motive is in all probability a new one, and iscertainly characteristic. The representation of a goddessentirely undraped was pr
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Keywords: ., bookcentury1900, bookdecade1910, bookpublis, booksubjectsculptors
