NOTES ON FOURTH CENTURY SCULPTURE Early on the sculpture of the 4th Century is a continuation of the themes we have seen

during the early and high Classical periods. The faces tend to be somewhat expressionless, the stances of the bodies tend to be easy and balanced and the drapery is often similar to 5th century treatment. th There is some fine early 4 century sculpture from the Temple of Asclepius at Epidaurus showing Asclepius seated, Amazons and Nereids which are really delicately done (see p.139). Gradually though, ideas were developing which led people to be more interested in the individual which seems to have led artists to take a more human focus, a soft, graciousness or dreamy gentleness with some emotion, sinuous poses and more naturalistic drapery. A good example of this new emotion and tenderness is the statue of Eirene and Ploutos (Peace and Wealth) which also shows a new direction - the depiction of an idea personified in stone. (p.140) An exceptionally fine example of all of these characteristics is the Hermes and Dionysus by Praxitiles, one of the outstanding sculptors of the century. This is probably an original,(but not all experts agree). We see the languid, easy contrapposto of Hermes (the Praxitilean curve), his tender, intimate gaze towards the baby and the soft radiance of the skin and "sfumato" soft modelling of the skin. Here we also see the new leaner figure in fashion in the 4th century. (p.145-146). "The divine had become accessible, almost personal, captured in an intimate moment" (Woodford). Praxitiles' most famous statue was the Aphrodite of Cnidos (see separate handout on the Female Nude. Also p.142). The same gentle languour and sinuous curves can be seen in the Apollo Sauroktonos (p.142). There is also a delicate relief sculpture attributed to him (p.144), a lovely example of the S-curve.

 Praxitiles had an enormous influence on the sculptors of his era, look at the Marathon Boy (original bronze p.148), and the Apollo Belvedere and Paris statues (p158) to see how his style prevailed. Skopas was another major figure, but most of his work is lost. He worked on the Mausoleum at Halicarnassus, one of the seven wonders of the world, a massive tomb with over 300 larger than life-size figures. A few heads from a temple of Alea at Tegea survive in poor condition and a dancing Maenad. What is striking is the intense emotion , the square set of the heads and deep set eyes, mouth slightly open. He is also said to have worked on the Temple of Artemis at Ephesus. The Pothos is also attributed to him (p.151) but not definite at all. th Possibly the most important 4 century sculptor is Lysippus, favourite of Alexander. To him is attributed by Pliny the new system of proportions which were fashionable in this era. His best known statue is the Apoxyomenos (see copy p.151.) There is a new sense of naturalness, movement and immediacy about the sculpture with its gentle rhythms, seemingly quite still, but actually full of motion, in the midst of an everyday action."Radical naturalism" (Woodford). Other works attributed to him are: the Heracles Epitrapezios (p152, a tired and older hero), and a magnificent athletic Agias(p152, though not necessarily by him). The famous Alexander Sarcophagus seems to have been much influenced by him. Other famous sculptors of the era are Leochares (possibly the Eagle and Ganymede p.156); Euphranor (possibly the Apollo Patroos p.157. Other key sculptures of the period include the magnificent seated Demeter from Cnidos, a lovely contrast to the Aphrodite with her grand sweep of drapery. th One trend that continued in the 4 century was the increasing desire to create an individual likeness in a portrait. Good examples of this are the Sophocles and Euripides (p.161), but they are still not totally realistic and are somewhat general and idealised.

The 4th century is very important for the development of grave stelai. (See separate handout). There are a lot of votive relief sculptures and sculptures representing specific events from this period too, some of very high quality. See pp.164-165. (Note natural poses, simple yet effective drapery, elegant, graceful poses.