308 



AN ANALYSIS OF THE 



Fig- 50. (*) Fig. 5J. (f) 



Thorwaldsen's lion, after the antique. Tliorwaldsen's lion from nature. 



carefully studied the natural model. (Fig. 51.) These two heads, therefore, are 

 very fair examples of a conventionalized and natural art-form. The distinctions pre- 

 sent-ed in the two figures are so great that comment is unncessary. We allude to 

 the subject to contrast Thorwaldsen's conception of the antique head with that of 

 Euskin's. (Fig. 52.) 



Fig. 53. (t) ' Fig. 53. (§) Fig. 54. (||) 



Modern Lion-head. Lion-head, after Caylns. Lion-head, after Hamilton. 



This critic claims for Fig. 52 (to condemn it), that it represents a modern conven- 

 tionalized lion-head treated after the Greek method. It surely belongs to the variety 

 of the lion without muzzle lines which is not the typical Greek head, but rather an 

 aberrant expression not often seen (Fig. 53), and is best marked • on the vases 

 — the source perhaps of the " reconstruction," criticised by Mr. Ruskin. 



The Palm-Tree. 



Sectioist it. The Palm-Tree. The palm-tree is one of the most conspicuous 

 figures in the art of Western Asia, and the countries bordering upon the Medi- 



* Thorwaldsen and his works, edited by J. M. Tlieile, Trans, by Sindling, N. Y., 1869, II, pi. 108. 

 •I- Ibid, II, pi. 153. 



X Lectures on Art and Painting, John Ruskin, 1854, pi. 11, fig. 18. 



§Recueil d'Antiq. Egyptienne, Estrusques, Greques, et. Romaines, Caylus, Paris, 1761-67, I, pi. 56. 

 II Hamilton, Sir "W. A collection of Etruscan, (jreek and Roman Antiquities, London, 1797. 



