A catalogue of sculpture in the Department of ... - Warburg Institute

TEMPLE OF NIKE APTEROS. 247various schools and methods.No. 426, severely draped inchiton and diploidion, seems to have the somewhat stiffdignity best seen in sculptures of the Temple of Zeus atOlympia, but occasionally suggested by the Parthenonsculptures. The figures of Athene (Kekule Balustrade,pi. ii.), have the spirit of the Parthenon frieze. In No. 427and No. 428, the artist dwells on and emphasises the nudeform, displaying it through transparent drapery in amanner that may well be supposed to have been that ofthe transition from Pheidias to Praxiteles.Finally, in thefigure leading the bull (No. 429), there is a florid wealth ofdrapery, which, among early works, only finds a partialanalogy in the frieze of Phigaleia, and which appearsmore akin to the Nike of Samothrace than to Attic workof the fifth century. This want of uniformity in stylesuggests a time of transition in which the traditions ofthe school of Pheidias were still to some extent operative,while newer tendencies were beginning to make themselvesfelt. Perhaps also they indicate that the work wasspread over a space of several years, such as might beexpected in the troubled close of the fifth century B.C.Height of Balustrade, 3 feet 2 inches. Ross, p. 17, pi. 13 (cf. ante,Vp. 241) ; Michaelis, Arch. Zeit., 1862, p. 249. All the materialsare collected by Kekule, Die Reliefs an der Balustrade der AthenaNike (1881), which superseded Kekule, Die Balustr. d.Tempels d.Athena Nike (1869). See also Overbeck, Gr. Flast., 3rd ed., I.,p. 369 ; Murray, II., p. 186 ; Wolters, Nos. 761-804. Stereoscopic,Nos. 158-160.426. Victory standing, half turned to the left. She holds agreave in her left hand, with which she was probablydecking a trophy. She wears a leather helmet.Kekule, Balustrade, pi. 5, fig. R ; Overbeck, Gr. Plast., 3rd ed., I.,fig. 82.427. Winged Victory turned to the left stoops forward,raising her right foot in order to adjust or unfasten her