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Fourth Century Head in Central Museum, Athens Author(S): E Fourth Century Head in Central Museum, Athens Author(s): E. F. Benson Source: The Journal of Hellenic Studies, Vol. 15 (1895), pp. 194-201 Published by: The Society for the Promotion of Hellenic Studies Stable URL: http://www.jstor.org/stable/624069 . Accessed: 15/02/2015 15:08 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Society for the Promotion of Hellenic Studies is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Hellenic Studies. http://www.jstor.org This content downloaded from 128.235.251.160 on Sun, 15 Feb 2015 15:08:00 PM All use subject to JSTOR Terms and Conditions 194 FOURTH CENTURY HEAD FOURTH CENTURY HEAD IN CENTRAL MUSEUM, ATHENS. G WAM 1w AW Mpg 04 My "WWI . ... ... ....... ... ........... 3q. 1 On 1S.- &ae ................. al xp i ME-. on" iU sm" to all. S I R , .................... ?a' ?g ....... .............. WES61 ER 01 AMR%%;Zug,LoaMmWWI THERE is among the fourth century works in the Central Museum at Athens a head found at Laurium. It is made of Parian marble but it has been completely discoloured by slag or refuse from the lead mines, and is now quite black. In its present condition it is quite impossible to obtain a satis- This content downloaded from 128.235.251.160 on Sun, 15 Feb 2015 15:08:00 PM All use subject to JSTOR Terms and Conditions IN CENTRAL MUSEUM, ATHENS. 195 factory photograph of it, and the reproduction given of it in the figure is from a cast. It has been published, as far as I am aware, only in M. Kavvadias' catalogue. There it is described*as a head of the Lykeian Apollo. This identification rests solely on a passage of Lucian, who mentions a statue of the Lykeian Apollo in the gymnasium at Athens. He says of it ('AvaX. 7)- iaicpo, ava,7ravVevov SEKvvI' ravO6v. It will be seen from a glance at the photograph that the grounds for this identification are very slender. The left hand with the bow does not exist, and the only reason for supposing therefore that this is a head of the Lykeian Apollo consists in the fact that the right hand of the statue rests on the head. This in itself seems insufficient and, among other reasons, it is I think rendered impossible by the phrase o-7rrep K K~apdrTOv ttaKpov ava- 7ravdlEvov. For the hand is not idly resting, it is not a tired hand; the posture of the fingers is firm and energetic. Before examining the head in detail it will be well to compare it with certain other heads, and to assign it, as we can with tolerable certainty, to its school. This is not difficult, for a detailed examination leads us to the same conclusion as the first impression, and suggests irresistibly that it is Scopaic. The two heads from Piali, found on the ancient site of the temple of Athene Alea at Tegea, are certain guides for the style of Scopas. He, as Pausanias tells us, was the architect of the temple, and executed the pedi- mental statues. These two heads are certainly from the pediments: they are too large for metope heads, they are completely in the round, and both have the top of the head sliced off, obviously to accommodate them to the sloping sides of the roof. In them we may then trace, if not the actual hand of Scopas, at any rate the style of the Scopaic school as surely as we may learn from the Parthenon pedimental sculptures the manner of Pheidias. Their general characteristics are clear enough. In both cases the head is very deep and round, the measurement from the back of the head to the base of the nose far exceeding the length of the face. The face is short and full, the eyes very deep set, the mouth very short, and the curve of the forehead as it falls over the eyebrow very marked. In one word I should call them violent. But it is by examining why and how the mouth is short, and why and how the eyes are deep set, that we can best discover what it is that makes the Scopaic manner so marked, and separates his school from other schools. For though the shortness of mouth is characteristic of Scopas, and equally characteristic of Lysippus, yet no two things can be less alike than the mouth in a Lysippian and the mouth in a Scopaic statue. Probably fewer mistakes have been made over Scopaic works than those of any other school, for the Scopaic manner is more distinct than any other. 02 This content downloaded from 128.235.251.160 on Sun, 15 Feb 2015 15:08:00 PM All use subject to JSTOR Terms and Conditions 196 FOURTH CENTURY HEAD The first impression of them is unique in the sense of life and force it conveys, and the sculptor has worked intelligibly; we can see in each feature the contribution it gives to the general effect. The eyes always seem to be gazing outwards and upwards, not dreamily but intensely, and the same tension is kept up in every feature. The breath seems to be coining and going rapidly, the mouth is panting. In both the heads the muscles of the neck are strongly strained-in the helmeted head upwards, in the smaller head sideways. In the first the 'Adam's apple' is sharp and prominent, the skin being drawn tight over it, in the other the muscles to the right of the neck are full and almost exaggeratedly accentuated. The treatment of the forehead is very marked. A deep line divides the upper forehead from the lower, and the lower forehead swells heavily over the line of brow. But there is no sharp line, as in Lysippian heads, over the bone of the brow; it is covered by a prominent muscle, and the swell of the forehead is carried over the bone to form one continuous curve with the line of the underside of the eyebrow. Thus the apparent depth of the eye is immensely increased. Instead of lying merely in the framework of bone as in Lysippian heads, it lurks, so to speak, beneath this very full and swelling curve coming right down over the forehead. This depth is further increased below the eye by the very prominent cheek-bone. The depth thus given to it adds to the impression of an eager outlook. The upper eyelid is in both cases almost invisible. It is drawn up tight, following, as in nature, the upward look of the eye, till it almost disappears under the swelling eyebrow, and appears in the front view as the thinnest possible line, almost vanishing at the corner. The impression of the outward gaze is completed by a very subtly observed fact, which Mr. E. A. Gardner has pointed out to me and very kindly allowed me to mention. The lower eyelid drops rapidly from the outside corner of the eye, and rises quickly again to the inside corner. Now when a person focuses his eye on a near object, the lower eyelid is slightly raised in the centre, and the curve down from the outer corner and up again to the inner corner is slight, and approaches to a straight line. But if the glance is then transferred to a distant object, the lower eyelid at once sinks in the middle, for it is pressed down by the lens of the eye, which enlarges to focus itself on a distant observed and object. Scopas executed this most carefully and successfully; the outward so characteristic of long gaze his works is always indicated by this droop of the lower eyelid. It is interesting to see in other less successful artists of his school how, in their hands, the same thing attempted but misunderstood involves them in false drawing. The nose is broad at the but very base, it never conveys a heavy impression. This is due to the fact that in both these heads and in others of the same school the nostrils are strongly inflated, thus necessitating a great breadth at the lower end of the nose. In this point again his less successful pupils go wrong. They copy the breadth of nose across the nostrils, but the nostrils they do not inflate. Instead therefore of receiving This content downloaded from 128.235.251.160 on Sun, 15 Feb 2015 15:08:00 PM All use subject to JSTOR Terms and Conditions IN CENTRAL MUSEUM, ATHENS. 197 an impression of eager vitality, we are merely struck by the heaviness of build. This eager expression is also carried out in the mouth. The upper lip is drawn up in the centre, so that the distance from the top edge of the lip to the bottom of the nose is extremely short. This vigorous raising of the upper lip irresistibly suggests a quick-drawn breath, which is also, as we have seen, carried out in the inflated nostrils, and it entirely accounts for the remarkable shortness of the mouth, measured horizontally. As it is raised in the centre, the lines of the lip instead of being straight become triangular, and the top edge of the lip slopes downwards to the corners, which thus necessarily come closer together than they would if the lip was straight.
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