Leda and the SwanAuthor(s): S. N. D.Source: Museum of Fine Arts Bulletin, Vol. 5, No. 25 (Apr., 1907), p. 15Published by: Museum of Fine Arts, BostonStable URL: http://www.jstor.org/stable/4423331 .

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MUSEUM OF FINE ARTS BULLETIN 15

Leda and the Swan.

THE story of Leda and the Swan is illustrated

by a number of plastic works of different periods of classical art, and by many paintings of Renaissance masters, whose feeling for the beauty of the human form often found expression in the

representation of Pagan myths. The earliest known Greek marble which finds a place in the long series of works of art inspired by this story is that of which a photograph is reproduced on this page. It is one of the sculotures which Boston owes to the liberality of the late Henry Lillie Pierce, and is now exhibited in the Gem Room of the Museum.

According to an old legend, Helen of Troy was the daughter of Zeus and the goddess Nemesis, but was reared by Leda, the queen of Tyndareus and the mother of Castor and Poly- deuces. An illustra- tion of this story is found on a kylix painted by Xenoti- mus, in the Museum collection of vases. In a later version Leda was fabled to be the mother of Helen, and the myth of Nemesis and the Swan became the story of Leda.

This form of the tale is found first in

Euripides, and he, the most popular of tragic poets, may have given it the currency which made it a part of the generally accepted mythology of later Greek and Roman times. The style of our statue indicates that it was made late in the fifth century B. C. There must remain some uncertainty whether it is Nemesis or Leda who figures here, but the work belongs to a time when the influence of Euripides was domi- nant ; and its manner and spirit suggest that the artist had in mind a form more human than that of Nemesis. The subject is probably Leda.

Zeus has come to Leda in the form of a swan seeking refuge from a pursuing eagle. The marble represents her as springing forward to protect the swan. The left hand raised her robe as a shield against the eagle. In this impulsive movement the

garment has fallen from her right shoulder, reveal- ing the soft and almost too smooth and fully rounded

outlines of the right side and arm. The figure has not yet come to rest. The right leg is bent. It is, in a mechanical sense, the lever by which the body has been thrown forward, and, being pre- sented still in its position of leverage, is expressive of elastic physical energy. The left foot is set on a considerable elevation, so that the garment is swept back over the knee in broad folds, which emphasize the vigor of motion.

Such motives as appear in this disposition of the limbs attain their effect only in a figure intended to be seen from the side rather than the front. Not only

is the composition of this work designed for such a view, finding an analogy in relief sculpture, but the left side proves to be in- correctly composed and carelessly exe- cuted. It is probable that the statue had originally an archi- tectural setting which framed it in the most favorable position.

The dress has the warm, thick texture of the Dorian chiton. Its folds, though they show the dramatic quality of the late fifth century art in their billowy lines, are simply and broadly planned.

The work does not pretend to the rank of a master- piece, but it bears the marks of an age of noble and vigorous sculpture. The tech- nical power of the

artist was imperfect, his method not altogether careful and conscientious ; but he has driven his chisel in lines which reflect the vitality of his imagination. S. N. D.

Committee on the Utilization of Mu-

seums of Art by Schools and Colleges.

THE Committee announces two lectures by

Miss Cecilia Beaux to be given at Simmons College : the first, April 30, on

" Modern Art and

the Public," the second, May 7, on "

Portraiture." The lectures will begin at 4.30 P. M. Applica- tions for tickets may be made to the Secretary, Simmons College, Boston, or to the Secretary of the Committee at the same address. Tickets will be issued to the extent of the seating accommoda- tion of the hall.

Greek Marble, late 5th century B. C. Leda and the Swan

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