Six Greek sculptors . s influence dominated hiscompanions, rather than that he designed the wholehimself. Even if there were no literary record con-necting Scopas with the Mausoleum, there are so manypoints of resemblance between the frieze and his extantworks that it must inevitably have been associated withhim. There is a tense eagerness about the positionand expression of the various figures which recalls theTegea heads, and a continuous rhythm harmonising theviolence of action, as in the Mcenad. There are manydetails, too, which resemble the work of Scopas—forinstance, the way in which the
Six Greek sculptors . s influence dominated hiscompanions, rather than that he designed the wholehimself. Even if there were no literary record con-necting Scopas with the Mausoleum, there are so manypoints of resemblance between the frieze and his extantworks that it must inevitably have been associated withhim. There is a tense eagerness about the positionand expression of the various figures which recalls theTegea heads, and a continuous rhythm harmonising theviolence of action, as in the Mcenad. There are manydetails, too, which resemble the work of Scopas—forinstance, the way in which the garments of theAmazons often float open, held in only by the girdle,and display the beauty of their form, as in the way, too, in which each individual figure standsout by itself must have been found in the Tegeapediments, where there were only fifteen * combatantsto fill the field of the gable of a large temple. The l In the Parthenon there are twenty-two figures in each pedi-ment, at Olympia *-5 DC ON < - < CO H- 13 -O P
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Keywords: ., bookcentury1900, bookdecade1910, bookpublis, booksubjectsculptors
