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Published online by Cambridge University Press: 23 December 2013
While I was staying for a few weeks in Athens during the early summer of 1912, my interest was particularly engaged by two figures (Nos. 6614, 6615) among the Acropolis bronzes in the National Museum. Though by no means equal in artistic value, both deserve to be more widely known than they have become through catalogue notices, being apparently the work of one school which, as I believe, has not yet been accurately identified. Dr. Staïs was kind enough to allow me to examine the figures closely and to photograph them, and has now courteously given me permission to publish my impressions.
1 Previous publications and notices of 6614 are: Eph. Arch. 1883, p. 46; Deltion, 1888, p. 82; Gardner, E. A., J.H.S. x. (1889), pp. 268–9Google Scholar; de Ridder, , Catalogue, No. 750 (pp. 275–7)Google Scholar; Staïs, , Cat. des Marbres et des Bronzes, p. 267.Google Scholar For 6615 see Eph. Arch. 1883, p. 86; Deltion, 1888, p. 154; de Ridder, , Cat. No. 757 (pp. 281–2)Google Scholar; Staïs, , Cat. p. 267.Google Scholar
2 The head and face give the misleading impression of being those of a middle aged man.
3 J.H.S. xxvii. 16.
4 Op. cit. pp. 17–18.
5 J.H.S. x. 268.
6 I have omitted this figure from the discussion since I know it only from reproductions, and access to it is, of course, impossible for the present.
7 Catalogue, p. 276.
8 For long I believed that the figure was indeed a jumper, but one who has already ‘landed,’ and is in the act of recovering his equilibrium, striving to regain his upright posture and about to break into the few broken strides which naturally complete the recovery after landing in the long jump. I still think this explanation is possible, but not so satisfactory as that which I now put forward.
9 E. N. Gardiner, op. cit. p. 36.
10 Ib. Fig. 7. (p. 18).
11 It may, of course, have been omitted by practised discobolists; but it would be helpful (I think) in the case of young athletes, as here, in giving them a moment to ensure their balance and ‘feel for’ the violent and difficult movement of No. 4.
12 Without the movement here suggested, the transition from the ‘two-handed position’ to No. 3 only allows the discobolus an imperfect swing of the discus, first downwards and slightly to the right, then backwards; since in the ‘two-handed position’ the discus is held on a line with the centre of the body and must clear the right side.
13 Probably both figures come (like B.M. 559=Gardiner, op. cit. Fig. 6) from lebetes.
14 Possibly owing to the relatively small size of the bronze; but they look almost to be unfinished.
15 They recall the eyes and mouth of the ‘Apollo’ from Orchomenus (Gardner, Handbook, i. Fig. 23); but the resemblance, of course, goes no further.
16 Catalogue, p. xxi.
17 Dickins, , Cat. of the Acrop. Mus. 689 (p. 248 ff.)Google Scholar
18 See Klein, , Euphronios, p. 273 (the figure putting on greaves)Google Scholar; p. 285 (discobolus); Gardiner op. cit. Fig. 4 (discobolus) and Figs. 10 and 17.
19 The relief is, I understand, to be published in due time.
20 Fouilles de Delphes, IV. xli. Gardner, , Six Greek Sculptors, pp. 33–34 and Pl. VI.Google Scholar