Pagina-afbeeldingen
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London, Pub Feb 11817, by the Trustees of the British Museum, 1 Murray. Albemarle S Mes Nicol Fall Mall, & Mefs Longman, Paternoster Row.

A STATUE of Diana, in her character of huntress; she is represented in the act of following the chase, and her drapery, which appears to be forcibly blown backward, evidently shows that she is running against the wind.

The whole of the right arm is modern, as is the left arm from the elbow downward; both feet, and a portion of the right leg extending nearly as high as the knee, are likewise modern. On examination of the engraving, it will be perceived by the manner in which the sculptor has restored this figure (if the use of the word is allowable where the original design of an ancient statue has been totally altered) that he intended to represent the goddess in the act of hurling a spear. It is, however, perfectly clear from an accurate inspection of the figure, as well as from a comparison of it with other similar figures, that this statue of Diana was originally represented holding a bow in the left hand, and with the right hand drawing an arrow from a quiver fastened behind her shoulder. Such is the action of the Diana formerly in the Villa Pamphili, but now in the Vatican; (1) and such likewise is her action in a well known statue belonging to the Florentine Collection; (2) it is also the same in many ancient medals. (3) The bow and quiver, when the statue was perfect, were doubtless of bronze, and the place occupied by the latter behind the right shoulder is very perceptible, as well as the holes and the metal by which it was fastened to the marble.

The ancient poets in speaking of Diana venatrix, or huntress, invariably describe her as being clothed with a short tunic, reaching

• Museo Pio-Clementino, vol. i. tav. xxx.

2 Musei Florentini Statuæ, tab. xix.

• Diana is represented in this particular action on several silver coins of Augustus; (Morellii Numism. XII. priorum Impp. Rom. tom. i. tab. xv. figg. 25, 26, 27, 28.) and on a coin of Agrippina the wife of Claudius, struck at Acmonia in Phrygia; (Vaillant, Imperatorum Romanorum Numismata Græca, p. 15, et App. Icon.)

only to the knees ;(4) and the specimens of ancient art where she is represented in this peculiar garment are so numerous, that it is unnecessary to quote them. In the statue before us she is, however, clothed with a garment reaching quite down to the feet, in the same manner as she is represented in the two statues we have just mentioned, namely, the one in the Vatican, and the other in the Florentine Museum. In a gem engraved by Heius, and published by Baron Stosch, (5) we also see her in a long garment, and it is worthy of remark that in the most ancient representations, Diana, like Minerva, is modestly habited in a long vestment. (6) Over this robe is a shorter garment, which does not nearly reach the knees, and is fastened round the waist by a narrow belt.

The head of this statue is formed of a separate piece of marble, and is inserted into a hollow purposely made to receive it: a narrow fillet encircles it twice. The arrangement of the hair is rather complicated; it is parted on the middle of the forehead, a portion of it is drawn up from each side to the top of the head, and there tied in a knot, similar in manner to the hair of the Apollo Belvidere: at the back part of the head the hair is likewise braided together, and two loose ringlets descend on each side of the neck. The ears have been pierced to receive ear-rings.

The folds of the drapery in the front of this figure are hollowed out in a very remarkable manner; the spaces between them are cut to so great a depth, and are at the same time so extremely curved, that we are almost at a loss to conceive by what contrivances they could have been effected.

καὶ ἐς γόνυ μέχρι χιτῶνα. Callimachi Hymn. in Dianam, v. 11.
Altera succinctæ religetur more Dianæ,

Ut solet attonitas cum petit illa feras.

Ovid. de Art. Am. lib. iii. v. 144.

s Phil. de Stosch, Pierres Antiques Gravées, sur lesquelles les graveurs ont mis leurs noms, pl. xxxvi.

• Winckelmann, Monumenti Antichi Inediti, tav. v. vi. xxxviii.

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