Page:History of Art in Primitive Greece - Mycenian Art Vol 2.djvu/304

The Lions Gate. 251 symmetry presented by these two huge bodies rising on either side of the column does not strike the eye disagreeably in an image whose value resides rather in the idea it suggests than in refinement of workmanship. The lines bounding the figures meet happily those of the architectonic unit framing the bas-relief. As required by technical necessities, the animals' backs are slightly inflected, and nearly parallel to the sides of the tri- angular cavity above the architrave. The fore-paws are almost vertical, and in harmony with the ascending lines of the shaft of the column. Their point of attachment to the shoulder still leaves much to be desired ; the paw is heavy and rudely modelled ; its rendering does not suggest a claw ever ready to pounce and fasten on its prey. But an air of bold resolve is bodied forth in the intentional stiffness of these paws, pressing with the weight of the body on the plinth, as if they meant to sink and incrustate themselves with it. We think, then, that scant justice has been done to the bas-relief when, in connection with it, such terms as "round," "soft," and "tame" are used.^ The converse is true of it, and the general character of the form is hit off in a very satisfactory manner, whether in the outline, or within it in the modelling of the flesh. We divine the bone structure, and the amplitude of the muscles which gives the lion enormous spring and elasticity. If we do not find the harshness of a later archaism, it is because the sculptor had no need to lay stress on details. His bas-relief had an emblematic character, and stood at a certain height above the ground ; the work sufficiently answered its purpose and fulfilled its part, if the elements composing it were clearly defined. The artisan was thus authorized by the programme itself to simplify the rendering of his figures, and he has not been slow in availing himself of the privilege. He lacked space for deploying the lion's mane on the surface between the animal and the external border of the slab ; hence he frankly suppressed it, along with the wisp of hair at the end of the tail. His lions, therefore, look like lionesses. The casual pedestrian was not so critical, and accepted them for what they were meant. He knew the symbol by heart ; a detail more or less was not likely to put him out. ^ OvERBECK, Geschichte der griechiscJien Plastik ; Brunn, Griechische Kutist- geschichte, Adler is more just.