Six Greek sculptors . proportions and simplicity of modelling, inthe wide-open eyes, overshadowed by the flesh beneaththe brow, in the dilated nostrils and half-open lips, wehave all the characteristics which we noticed in theTegea heads here transferred to an ideal portrait; andin the expression, recalling that of the Cnidian Demeter,it is hardly rash to see a reminiscence of the wifelymourning which expressed itself in so splendid amonument. It is unfortunate that the face of thestanding statue of Artemisia—not, presumably, byScopas—is not preserved for comparison. In con-sidering the author
Six Greek sculptors . proportions and simplicity of modelling, inthe wide-open eyes, overshadowed by the flesh beneaththe brow, in the dilated nostrils and half-open lips, wehave all the characteristics which we noticed in theTegea heads here transferred to an ideal portrait; andin the expression, recalling that of the Cnidian Demeter,it is hardly rash to see a reminiscence of the wifelymourning which expressed itself in so splendid amonument. It is unfortunate that the face of thestanding statue of Artemisia—not, presumably, byScopas—is not preserved for comparison. In con-sidering the authorship of the friezes of the Mausoleum,the recorded distribution of the sides among thedifferent sculptors is of little use to us. So far as canbe ascertained, the various friezes must probably haverun all round the building. It is therefore impossibleto say which slabs belong to which side. An attemptto do this on the ground of style was disproved bytechnical indications in the thickness or finish of the Plate LIX. HEAD. PROBABLY OF ARTEMISIA. PROM MAUSOLEUM To face p. 204 Plate LX
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Keywords: ., bookcentury1900, bookdecade1910, bookpublis, booksubjectsculptors
