A sculptural pairing of the tyrannicides Harmodius and Aristogeiton (Ancient Greek: Ἁρμόδιος καὶ Ἀριστογείτων, romanized: Harmodios, Aristogeitōn) was well known in the ancient world in two major versions but survives only in Roman marble copies. The lovers Harmodius and Aristogeiton were Athenian heroes whose act of daring in 514 BC opened the way for Athenian democracy.
A first version that was commissioned from the sculptor Antenor after the establishment of Athenian democracy and erected in the Agora was stolen by the Persians when they occupied Athens in 480 during the Persian Wars and removed to Susa. Though it was returned to Athens by Alexander the Great (according to Alexander's historian Arrian) or by Seleucus I (according to the Roman writer Valerius Maximus), or again by Antiochus according to Pausanias (1.8.5), it never attracted copyists[1] and is now lost.
To replace the stolen original version, the Athenians commissioned Kritios and Nesiotes to produce a new statue, which was set up in 477/76 BC, according to the inscribed Parian Chronicle. Both pairs stood side-by-side in the Agora as late as the 2nd century AD when Pausanias noted them there.[2] The pair by Kritios and Nesiotes too are now lost, but unlike Antenor's they were extensively copied in Hellenistic and Roman times. The best surviving of those copies may be seen in the National Archaeological Museum in Naples.
Descriptionedit
In the Neo-Attic style that revived the Severe style of the original bronzes, it shows idealized portraits of the two heroes: a clean-shaven Harmodius, thrusting a sword forward in his upraised right hand, another sword in his left hand; and Aristogeiton, also brandishing a sword, with a chlamys, or cape, draped over his left shoulder. Of the four swords only the hilts are left. The head of Aristogeiton, as well as the left hand and right arm, are not original.[3]
A weathered marble head of Harmodius, once of fine workmanship, conserved at the Metropolitan Museum of Art, with the remains of a strut support on the crown of the head, suggested to Gisela Richter a restoration of the right arm of Harmodius (of which both are missing and restored in the Neapolitan sculpture), reaching backwards, ready for a downward-slashing stroke.[4]
Notesedit
^"Antenor's Tyrranoktones never enjoyed a great popularity; they never became so popular as the later group," observes J.H. Jongkees in Mnemosyne , 3rd Series 13 (1947); "The Antennor 'tyrannicide'-group cannot be dated with certainty, nor can it have made much of an impact", observes Anthony J. Podlecki, in "The Political Significance of the Athenian "Tyrannicide"-Cult", Historia: Zeitschrift für Alte Geschichte, 15.2 [April 1966:129-141] p. 135, noting Jongkees and making a case for a four-line dedicatory epigram for the base by Simonides
Stewart, Andrew; Frischer, Bernard; Abdelaziz, Mohamed (2022). "Fear and Loathing in the Hellenistic Agora: Antenor's Tyrannicides Return". Hesperia: The Journal of the American School of Classical Studies at Athens. 91 (2): 311–350. ISSN 1553-5622.
December 15, 2023
harmodius, aristogeiton, sculpture, sculptural, pairing, tyrannicides, harmodius, aristogeiton, ancient, greek, Ἁρμόδιος, καὶ, Ἀριστογείτων, romanized, harmodios, aristogeitōn, well, known, ancient, world, major, versions, survives, only, roman, marble, copies. A sculptural pairing of the tyrannicides Harmodius and Aristogeiton Ancient Greek Ἁrmodios kaὶ Ἀristogeitwn romanized Harmodios Aristogeitōn was well known in the ancient world in two major versions but survives only in Roman marble copies The lovers Harmodius and Aristogeiton were Athenian heroes whose act of daring in 514 BC opened the way for Athenian democracy Statue of Harmodius and Aristogeiton Naples These are Roman copies of the Athenian originals now lostHistorical plaster cast by Adolf Michaelis Gypsotheque de Strasbourg Contents 1 History 2 Description 3 Notes 4 Further readingHistory editA first version that was commissioned from the sculptor Antenor after the establishment of Athenian democracy and erected in the Agora was stolen by the Persians when they occupied Athens in 480 during the Persian Wars and removed to Susa Though it was returned to Athens by Alexander the Great according to Alexander s historian Arrian or by Seleucus I according to the Roman writer Valerius Maximus or again by Antiochus according to Pausanias 1 8 5 it never attracted copyists 1 and is now lost To replace the stolen original version the Athenians commissioned Kritios and Nesiotes to produce a new statue which was set up in 477 76 BC according to the inscribed Parian Chronicle Both pairs stood side by side in the Agora as late as the 2nd century AD when Pausanias noted them there 2 The pair by Kritios and Nesiotes too are now lost but unlike Antenor s they were extensively copied in Hellenistic and Roman times The best surviving of those copies may be seen in the National Archaeological Museum in Naples Description editIn the Neo Attic style that revived the Severe style of the original bronzes it shows idealized portraits of the two heroes a clean shaven Harmodius thrusting a sword forward in his upraised right hand another sword in his left hand and Aristogeiton also brandishing a sword with a chlamys or cape draped over his left shoulder Of the four swords only the hilts are left The head of Aristogeiton as well as the left hand and right arm are not original 3 A weathered marble head of Harmodius once of fine workmanship conserved at the Metropolitan Museum of Art with the remains of a strut support on the crown of the head suggested to Gisela Richter a restoration of the right arm of Harmodius of which both are missing and restored in the Neapolitan sculpture reaching backwards ready for a downward slashing stroke 4 Notes edit Antenor s Tyrranoktones never enjoyed a great popularity they never became so popular as the later group observes J H Jongkees in Mnemosyne 3rd Series 13 1947 The Antennor tyrannicide group cannot be dated with certainty nor can it have made much of an impact observes Anthony J Podlecki in The Political Significance of the Athenian Tyrannicide Cult Historia Zeitschrift fur Alte Geschichte 15 2 April 1966 129 141 p 135 noting Jongkees and making a case for a four line dedicatory epigram for the base by Simonides Pausanias I 8 5 Gods and goddesses The Classical Art Research Centre and The Beazley Archive Gisela M A Richter The Right Arm of Harmodios American Journal of Archaeology 32 1 January March 1928 1 8 Further reading editTaylor Michael W The Tyrant Slayers The Heroic Image in Fifth Century B C Athenian Art and Politics 2nd ed 1991 Sture Brunnsaker The Tyrant Slayers of Kritios and Nesiotes A critical study of the sources and restorations Skrifter utgivna av Svenska institutet i Athen 4 17 Stockholm 1971 ISBN 978 91 85086 00 9 ISBN 91 85086 00 2 See record at WorldCat http www worldcat org oclc 715118964 Stewart Andrew Frischer Bernard Abdelaziz Mohamed 2022 Fear and Loathing in the Hellenistic Agora Antenor s Tyrannicides Return Hesperia The Journal of the American School of Classical Studies at Athens 91 2 311 350 ISSN 1553 5622 Retrieved from https en wikipedia org w index php title Harmodius and Aristogeiton sculpture amp oldid 1179712298, wikipedia, wiki, book, books, library,
