Footnote 107:[ (return) ] 107: IX, p. 115.
Footnote 108:[ (return) ] II, p. 333.
Footnote 109:[ (return) ] II, p. 332.
There is, as we have already said, a general correspondence between these groups. This is effected, in such a way that the group ix resembles x¹ in action and arrangement, rather than 9¹, which, on the other hand, resembles group x, rather than group ix. In other words, the diagonalism which we have noticed above in the arrangement of young and old satyrs (vi a, v b, iv : iv¹, v¹ b, vi¹ a), is extended here to the groups themselves.
Moreover, the stretches of sea with the paired dolphins (viii : viii¹), which are introduced between these groups and those which had preceded, are not to be regarded as separating the composition into two parts, but as connecting the central scene with similar scenes in a different locality. These scenes are again joined by another stretch of sea with the single dolphin (0¹), which thus forms the centre of the back of the relief, opposite Dionysos, and the terminus of the action which proceeds from the god toward either side.
I do not mean to say, however, that these scenes beyond the dolphins (viii: viii¹), are to be looked upon as a mere repetition of those which have preceded, distinguished only by greater license in the symmetry, or that the changes of locality have no other purpose than to lend variety to the action. On the contrary, if we examine the indications of scenery in this relief, we see that those features by which the artist has characterized the place of this part of the action as the seashore, the trees near the water's edge, the alternating stretches of land and sea, the dolphins, the satyr pulling the pirate into the water (x), are confined to the space beyond the trees. In the scenes on the other side of the trees, there is not only no suggestion of the sea, but the rocks and the sequence of figures up to Dionysos indicate rather that his place of repose is some elevation near the seashore. The contrast between the more peaceful and luxurious surroundings of the god and the violent contest with the pirates, is thus carried out and enforced by the sculptural indications of landscape, as well as by the leading lines of the composition. Though I would not imply that the composition of this frieze was in any way governed by the laws which rule similar compositions in pediments, it is interesting and instructive to note that the general principles of distribution of subject which have been followed, are somewhat similar to those which we can trace in the best-known pediments extant; thus, as the god in his more elevated position would occupy the centre of the pediment, so the low-lying seashore and the scenes which are being enacted upon it correspond to the wings at either side.
To recapitulate, the concordance of figures in this relief is then briefly as follows: In the central scene, i.e., inside the vases, and in the first pair of transitional figures (III, II, I:I¹, II¹, III¹), equality of persons, but not of accessories (drapery, thyrsi); action symmetrical. In the immediately adjacent scenes, including the second pair of transitional figures and the satyrs at the trees (VII, VI, V, IV:IV¹, V¹, VI¹ , VII¹), the persons are diagonally symmetrical in VIa, Vb, IV:IV¹, V¹b, VI¹a (i.e., old, young, old: young, old, young), equal in VII:VII¹. The drapery is diagonally symmetrical in Vb, IV:IV¹, V¹b (i.e., panther-skin, nudity: panther-skin, nudity), equal in VIa:VI¹a, not symmetrical in VII:VII¹, and the weapons are not symmetrical, except in VII:VII¹ (i.e., thyrsus, club, torch: club, no weapon, club). The action is symmetrical throughout, although not exactly the same in V:V¹. In the scenes beyond the dolphins, the persons are equivalent (X, IX: IX¹, X¹), while the action, drapery and weapons are harmonious, but not diagonally symmetrical (i.e., IXa = X¹a, but Xb < IX¹a). At the left, a tree, at the right, a pile of rocks and a serpent.--The persons are, accordingly, symmetrical throughout; the action is so until past the dolphins (VIII:VIII¹); the drapery only in II: II¹, and in VI, V, IV:IV¹, V¹, VI¹; and the weapons not at all.
It is thus apparent that the correspondence of the figures in this frieze is by no means rigid and schematic or devoid of life, but that, on the contrary, the same principles of symmetry obtain which have been pointed out by many authorities as prevalent in Greek art. [110] The whole composition exhibits freedom and elasticity, not so indulged in as to produce discord, but peculiarly appropriate to the element of mirth and comedy which characterizes the story, and upon which the sculptor has laid especial stress.
HERBERT F. DE COU
Berlin, August 19, 1892.
Footnote 110:[ (return) ] Brunn, Bildwerke des Parthenon; Flasch, Zum Parthenonfries pp. 65 ff.; and Waldstein, Essays on the Art of Pheidias, pp. 80f., 114ff., 153ff., 194f., 205, 210.