The Frieze Sculpture
In the frieze sculpture, where the centaurs are shown running, it becomes even clearer how poorly such a creature would function as the running human bodies simply seem to have strange appendages that function separately from them. In the figure on the far right, for example, the upper thigh and buttock are so well defined that there seems to be almost no connection with the horse part of the body.

The height of the relief varies considerably -- being highest at either end of the block. The body and right leg of the centaur at the right are in relief comparable to that of Herakles himself whose right arm and leg stand out at the other end of the sculpture. It is difficult to say how much the differences in relief are due to the state of preservation. But the centaur located at the center of the composition appears to be in noticeably lower relief than all the other figures. Since he is closest to Herakles the lower relief tends to create an impression of greater distance between them. Such an impression may not have been conveyed by the sculpture in its original painted state.

This section of the frieze is probably a self-contained compositional unit. Tansey and Kleiner note that Archaic Ionic friezes did feature conti

 

nuous sculptured friezes but in their example one story, the gigantomachy, is related in the continuous frieze. The battle that is depicted contains numerous encounters that can all be shown as taking place at the same time. The labors of Herakles, on the other hand, happened one after the other and it seems more likely that they would be depicted as separate or only nominally connected compositions. In either case this section of frieze sculpture features a plain border that is consistent at the top and bottom and only varies, with additional width, at what would be the center of the composition if it were meant to be viewed separately. In addition to this framing emphasis on the center of the composition there are compositional indications of its unity as well. The centaur who appears to have been struck in the head by an arrow looks back at Herakles firing his arrow. His head occupies the central position in the composition. His backward glance contrasts sharply with the forward view of the next centaur (the head of the third has been broken away). In addition, this centaur's arms are bent at the elbows and his hands are raised and bracket his head. Not only does this contrast with the outstretched arms of Herakles and the other centaurs, the two bent elbows that frame the centaur's head are also echoed at either end of the composition by similar upraised arms of the figure on the left and of the last centaur on the right. The entire composition is, therefore, bracketed in the same manner as the centaur's head. These verticals also contrast with the right-leaning diagonal thrust of the sculpture as a whole and serve, along with the relatively vertical back of the wounded centaur, to make him the center of the composition.

The shock of the centaur at being hit and the absence of forward movement in the upper half of his body creates a momentary stillness at the center of a sculpture filled with aggressively directed movement. Such movement is typica

 
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    Some topics in this essay  
 
    Archaic Ionic | Tansey Kleiner | Herakles Hercules | Erymanthus Herakles | Theseus Jason | | Non-European Art | center composition | Ages Vol | tansey kleiner | section frieze | frieze sculpture | wounded centaur | Scribner's Sons | bent elbows | History Vol | vol 1 ancient | centaur center | pursuing centaurs | relief sculptures | 1 ancient | wounded centaur center | section frieze sculpture |  
   
 
 
 
   
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