Hermes with the Infant Dionysus: A Formal and Iconographic Analysis
Hermes with the Infant Dionysus
A) Listing
Title: Hermes with the Infant Dionysus
Author: Praxiteles (~390-335 BC)
Chronology: 4th Century BC (343 BC). Late Classical Greek Period. Discovered in 1877 at the Temple of Hera in Olympia.
B) External Data
Technique: Carving
Material: Parian marble from the island of Paros; partially reconstructed with plaster.
Tools: Drill, chisel, hammer
Form: Freestanding sculpture (viewable from all angles)
Type: Two-figure sculptural group
Color: Monochrome (originally polychromed)
Original Location: Temple of Hera, Olympia
Current Location: Archaeological Museum of Olympia
Theme: Mythological
Dimensions: 2.15m high
C) Formal Analysis
1. Description
This freestanding sculptural group depicts two figures: a nude young man (Hermes) leaning on a tree trunk, and a nude infant (Dionysus) held under his left arm. A draped cloth hangs from the tree trunk behind the figures, partially obscuring it. The tree trunk serves as a support, which would have been unnecessary if the sculpture were cast in bronze. The figure’s right arm is incomplete, and the lower leg is a plaster reconstruction. It is an original Greek sculpture.
2. Volume and Space
Solid form and void space
3. Figures
a) Figurative Style: Naturalistic and figurative, with an emphasis on formal beauty, particularly in the main figure.
b) Expression: Hermes’ facial expression is distant and serene. The sculpture features two stylistic innovations: a wider nose bridge and a subtle rendering of the eyes, nearly erasing the lower eyelid, creating a soft, hazy effect (sfumato). The hair is carved with a drill.
The elevated hip, the subtle curve of the torso, the delicate musculature, and the sfumato technique imbue the figure with a relaxed grace and softness.
Hermes’ nostalgic, tender gaze and the interaction between the two figures mark a shift in Late Classical art towards a more sensitive and emotional portrayal, a trend that culminated in the Hellenistic period.
c) Anatomy: Harmonious, idealized, and sensual. Hermes’ physique is relaxed and subtly feminine. The infant’s proportions are not entirely realistic, retaining some adult-like characteristics.
Hermes’ facial features are idealized and softly defined, conveying a sense of melancholy. The hairstyle is naturalistic and irregular, unlike the geometric, symmetrical styles of the Archaic period.
d) Drapery: Hermes is nude, as is the infant. The draped mantle is rendered with hyperrealism, contrasting with the idealized treatment of the bodies.
e) Proportions: The sculpture is 2.15m tall. The infant’s proportions are not entirely realistic, retaining some adult-like characteristics.
4. Composition
a) Type: Centripetal (limbs extending outwards). Ascending lines draw attention to Hermes’ face, which appears absorbed in thought. Hermes stands in a relaxed, natural contrapposto pose. The weight-bearing right leg and the relaxed left leg, touching the ground with its toes, create a dynamic yet balanced composition. The slight tilt of the head completes the elegant S-curve (Praxitelean curve).
b) Structural Lines: The Praxitelean curve avoids strict verticality, imbuing the figure with a sense of lightness and movement. The S-curve creates a seductive rhythm, balancing movement and rest.
c) Overall Shape: Parallelepiped
5. Rhythm
a) Composition: Static, following the Praxitelean curve, balancing movement and repose. Praxiteles imbues Hermes with a sense of life and emotion.
b) Type of Movement: Implied movement. Hermes offers Dionysus a bunch of grapes, alluding to Dionysus’ future role as the god of wine. Praxiteles humanizes the gods, as seen in the tenderness with which Hermes regards his younger brother.
c) Devices Suggesting Movement: The exaggerated contrapposto of Hermes’ spine and the realistic rendering of the draped folds of the tunic.
6. Viewer’s Position
Frontal
7. Time
A single moment in time
8. Light
Light plays a significant role, sliding smoothly over the surfaces and creating subtle modulations of light and shadow, particularly in the hair and drapery.
9. Color
White marble. The sculpture was originally polychromed, with Nicias possibly responsible for the painting.
10. Relationship to Surrounding Space
Originally located within the Temple of Hera at Olympia.
11. Relief
Freestanding sculpture
12. Style
Hermes with the Infant Dionysus exemplifies the Late Classical style, which moved away from the severity of earlier styles towards greater softness, harmony, and expressiveness. Praxiteles, Scopas, and Lysippus were key figures in this stylistic shift. Praxiteles favored a delicate, androgynous aesthetic, while Scopas imbued his works with intense emotion, and Lysippus developed a canon of slender proportions and spatial dynamism. Realism gained prominence. The drapery on Hermes, for example, is rendered with realistic folds, unlike the stylized drapery of earlier periods. Praxiteles’ work is characterized by charis (grace).
Praxiteles is considered a precursor to Hellenistic art. He was the first to depict gods and heroes with overt emotion. While influenced by Polykleitos’ canon of proportions, Praxiteles also drew inspiration from his father, Cephisodotus, who had explored emotional expression and realism within the Classical idiom. Praxiteles is credited with introducing the female nude in his Aphrodite of Knidos.
D) Interpretation and Significance
1. Theme, Symbolic Iconography, and Iconology
The theme is religious and mythological, possibly commemorating an alliance between Arcadia and Elis, whose patron deities were Hermes and Dionysus, respectively.
Hermes, the god of commerce and communication, carries his younger brother Dionysus, the future god of wine and revelry. The scene depicts a moment during Hermes’ journey to take Dionysus to safety, protecting him from Hera’s wrath. Hermes offers Dionysus a bunch of grapes, foreshadowing Dionysus’ future role. Praxiteles humanizes the gods, emphasizing the tender relationship between the brothers.
2. Function
Commemorative and decorative. Possibly created to celebrate the peace between Elis and Arcadia.
3. Influences and Relationships
Influenced by Cephisodotus (Praxiteles’ father) and Polykleitos.
4. Other Works by Praxiteles
- Aphrodite of Knidos (c. 350 BC)
- Apollo Sauroktonos (Lizard Slayer) (c. 350 BC)
- Base for Statues of Three Muses (c. 330 BC)
- Resting Satyr (c. 340-330 BC)
- Aphrodite of Thespiae
5. Other Works of Classical Greek Art
- Discobolus by Myron (c. 460 BC)
- Doryphoros by Polykleitos (c. 450-440 BC)
- Apoxyomenos by Lysippus (c. 330 BC)
- Apollo Belvedere (4th-3rd Century BC)
Conclusions
Hermes with the Infant Dionysus is a representative work of Late Classical Greek sculpture. It embodies the shift towards a more human and emotional portrayal of the divine. The technical mastery and melancholic expression suggest a post-Classical sensibility, characteristic of the 4th century BC.
The Theater of Epidaurus
Location and History
The Theater of Epidaurus is located in the sanctuary of Asclepius at Epidaurus, a city on the Peloponnesian coast of Greece. Built in the late 4th century BC, possibly by Polykleitos the Younger, it is renowned for its beauty, elegance, and exceptional acoustics. The theater was built in two phases, using gray/pink and soft stone. It has undergone extensive restoration in the 20th century. The theater is a UNESCO World Heritage site.
Architectural Features
The theater takes advantage of the natural slope of the hill. It consists of the following parts:
Orchestra: A perfect circle with a diameter of 19.50m. The altar of Dionysus was originally located within a small Ionic temple in the center of the orchestra.
Cavea (Seating Area): Semi-circular, divided into two tiers. The lower tier has 34 rows and the upper tier has 21 rows, accommodating approximately 14,000 spectators. The seats are arranged in radial wedges (kerkides), separated by stepped passageways.
Skene (Stage Building): A two-story structure with a central doorway and columns.
Proskenion (Stage): Located in front of the skene. Originally a two-story Ionic portico.
Style and Significance
The Theater of Epidaurus exemplifies the Classical Greek style, characterized by harmony, serenity, and balance. Its design incorporates mathematical principles such as the golden ratio and Fibonacci sequence. The theater’s exceptional acoustics are a result of careful design and precise calculations. The theater served as a venue for dramatic performances, particularly during festivals honoring Dionysus. It also played a role in the healing rituals associated with the sanctuary of Asclepius.