Corinth Object T 25

Collection:		Corinth
Type:		Object
Name:		T 25
Title:		GODDESS ADVANCING TOWARD GIANT, PULLING HIS HAIR
Category:		Miscellaneous
Category Code:		T
Object Number:		25
Description:		The block represents a goddess advancing right and pulling the hair of a nude giant who kneels to the right on the plinth. The two figures seem to fill most of the available space. Only a small part of the goddess is preserved; her left ankle and foot in right profile; her right leg from knee down stretches back in frontal view. Heavy folds of the chiton hang between the two legs. The latter are deeply cut, wave slightly toward the right, and stop a bit above the plinth, where they are not deeply undercut. Folds are rendered in thich groups, each further divided by r. drill channels into shallower folds. Transparent drapery covers both legs and allows only a few curved folds to indicate the form beneath. Both feet are clad. The giant kneels on his left leg and thrusts his right diagonally to the left so that his short foot rests on the goddess's left foot. He raises his very muscular left arm over his head to grasp his opponent's left arm by the wrist. Veins and muscles are prominent on both arms. A break, only partly perserved, to the left of giant, he may indicate the direction of his right forearm. He directs his gaze down, presumably to watch the work of his right hand. The head, in 3/4 left view, wears thick and tousled hair, moustache and beard. Though the hair is quite thick, it is not deeply cut (no drill holes, only chisel) The running drill is used, however, to separate his head from his left arm, his right arm from background. The hair, which the goddess has a firm grip on, is rendered in short, wavy clumps, each with thinner strands carved on them. The eyes are deeply set beneath furrowed brows; the forehead is doubly creased, in consternation, if not in pain. The large eyes are deep-set, with even lids and crow's feet at the outer corners where they are cut deeply into the cheek. The right eye is sketchily rendered. The cheek bones on both sides are heavily modelled. The nose has 3 bumps and wide nostrils. The lips are slightly parted and turn down at the outer corners. His sterno mastoid is particularly strong; the clavicles are well modelled. The pectorals and proper left digitations are especially strong. Nipple point toward the sides. A flower-shaped bit of hair is carved in low relief on his chest; a second spot appears under his left arm (not his right). The bulges od the abdomen and over the iliac crest are moderate. The navel is a horizontal crease with shallow groove below; above this a short, wide groove angles to right. The torso as a whole is well carved. Modelling on his right thigh and calf is moderate. The underside of the knee is unfinished. The toes are particularly lively. A break in the background to right of his right thigh may show the position of his left foot. His right side and leg provide a pleasing curve to the figure who, as well as being one of the most complete, is certainly also one of the most successful of the Gigantomachy.
Mythology:		Gigantomachy
Attributes:		Background - Mostly with flat, claw above giant's head; Plinth - point on top, claw in front; Reverse - smooth
Material:		White, fine-grained marble.
Condition:		Fragment. 31 joining fragments.
Period:		2nd c. A.C.
Chronology:		2nd quarter of 2nd c. A.C. according to Corinth IX p.4-5
Area:		Theater
Context:		NB321 P519
Bibliography:		Sturgeon, 1977, Corinth IX.2 G 21-3
Site:		Corinth
City:		Ancient Corinth
Country:		Greece
References:		Monument: Theater Image: digital 2012 0750