Hostname: page-component-848d4c4894-x5gtn Total loading time: 0 Render date: 2024-06-07T05:38:21.480Z Has data issue: false hasContentIssue false

A Female Figure in the Early Style of Pheidias

Published online by Cambridge University Press:  23 December 2013

Extract

I have to bring before the readers of this Journal a female figure of great interest recently added to the Ashmolean Gallery of Sculpture. Its beauty and dignity will be evident to all who look at the plates (Pls. I., II.). In addition to its beauty it has also special interest, because a discussion of it necessarily involves the whole question of Attic art in the age of Pericles, and particularly of portrait sculpture in that age.

The figure comes from the Hope Collection at Deepdene in Surrey, which was sold by auction in July last. It lay unnoticed in the Deepdene mansion, and was not seen by Michaelis when he visited it in 1877, nor by more recent visitors. I have not succeeded in finding any information as to its source; but as many of the Hope sculptures were found in Rome, it is very probable that this comes thence. The restorations are in Italian marble, and were probably executed in Rome. It is wrongly described, and not figured, in the Hope Sale Catalogue.

Type
Research Article
Copyright
Copyright © The Society for the Promotion of Hellenic Studies 1918

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Dütschke, Bildwerke in Nord-Italien, ii. No. 413.

2 Gauckler, , Musée de Cherchel, p. 102Google Scholar, Pl. V.

3 Bull. Comm. 1901, p. 79.

4 Abhandl. der bayr. Akad. der Wissensch. vol. xxi. part 2, p. 277.

5 Pythaenetus in Athenaeus, xiii. 56.

6 Fragm. 59.

7 Pollux, vii. 49.

8 See especially Tiryns, i. Pl. IX, X; Reinach, S., Répertoire de la Statuaire, ii. 643Google Scholar; J.H.S. xxx. Pl. XIII.

9 Gardner, E. A., Handbook, p. 170Google Scholar; Collignon, i. p. 341; other references in Dickins, Cat. Acropolis Museum, No. 679.

10 This figure is not mentioned by Amelung in his Führer durch die Antiken in Florenz, (1897).

10a Bull. Com. 1897, Pl. XII.–XIII., p. 170.

10b La glyptothèque Ny Carlsberg, p. 49.

11 Furtwängler and Reichhold, Pl. 5.

12 Archäol. Zeitung, 1872, Pl. 63.

13 Paus. i. 14, 7.

14 Pliny, xxxvi. 15.

15 De Isocrate, ch. 3.

16 Griech. Ikonographie, i. pp. 59–73.

17 Meisterwerke, p. 102; Masterpieces, p. 70.

18 Gazette des Beaux Arts, 1902. 2, p. 457.

19 For example, Head's, Syracuse (Num. Chron. 1874)Google Scholar, Pl. III. 1, V. 1, 2, etc.

20 Br. Mus. Cat., Corinth, Pls. V. and X.

21 Conze, Pl. XXX. This figure is closely like the Parthenon Frieze.

22 Best published in J.H.S. 1912, pp. 43–56 Pl. I.

23 Pollux, iv. 153.

24 See Bernoulli, . Griech. Ikon. i. p. 61Google Scholar.

25 Ueber Darstellungen griech. Dichter auf Vasenb.

26 Br. Mus. Cat., Troas, &c., Pl. XXXVIII. 4–7.

27 Onom. ix. 84.

28 In the Br. Mus. Cat. Wroth thinks the head is of Aphrodite.

29 Gaz. des Beaux Arts, 1902, 2, p. 457.

30 Furtwängler, , Masterpieces, p. 68Google Scholar.

31 Alterth. von Pergamon, iii. 2; Pl. V.

32 Statuenkopieen, p. 50.

33 A careful description in Michaelis, , Ancient Marbles in Great Britain, p. 555Google Scholar.

34 See Sauer, B., Der Weber-Laborde'sche Kopf, 1903Google Scholar.

35 Br. Mus. Cat. of Sculpture, i. p. 264.

36 Bull. Com. arch. comunale, 1878, Pl. I.; Arndt-Bruckmann, Porträts, Pl. 143–4.

37 Bernoulli, , Griech. Ikonogr. i. pp. 65, 67Google Scholar.

38 Jahrbuch des Inst. v. Pl. 3.

39 Bernoulli, , Gr. Ikon. i. p. 69Google Scholar; Arndt-Bruckmann, Porträts, Pl. 149, 150.

40 This we learn from Plutarch, Pericles, ch. xi.

41 Numismatic Commentary on Pausanias, Pl. S, x.

42 Ibid. Pl. Z, i.–vii.

43 Woodward, in Annual of Brit. School, 19091910, p. 190Google Scholar. Mr. Woodward observes that Pheidias exercised practically no supervision over the last stages of the decoration of the Parthenon.

44 The Hestia Giustiniani may perhaps be a third, but her place of origin is uncertain.

45 Published by Amelung in Röm. Mitt. xv.

46 Röm. Mitt. xv. p. 191.

47 i. 23, 2.

48 Kalamis, 1907.

49 Studniczka, , Kalamis, p. 54Google Scholar.

50 Ch. 6.

51 The word is ἀναβολὴ, an outer garment; this excludes such figures as the Hestia Giustiniani.

52 De Isocrate, ch. 3.

53 Dial. Meretr. iii. 2.

54 Furtwängler, takes this view: Sitzungsber. der bayer. Akademie, 1907, part ii. p. 168Google Scholar.

55 The assignment of a fresh name to those who were heroized was an ordinary custom.

56 Griech. Ikonogr. i. p. 115.

57 Br. Mus. Cat., Thessaly, Pl. IV. 1, 2.

58 Plutarch's Pericles, ch. x. Pericles, rather coarsely, tells Elpinice that she is too old for the business.

59 Possibly the name Elpinice, ‘Hope of victory,’ may have had to do with Marathon.

60 These are the dates arrived at by Studniczka, , Kalamis, p. 81Google Scholar.

61 Plutarch's Pericles, ch. xxxi.

62 In the remarkable statue lately discovered at Cyrene.

63 See Bernoulli, , Griech. Ikonogr. p. 113Google Scholar. It is in the Sala delle Muse in the Vatican.