One or two of them are spiritless
and uninteresting. Others, while fine in their way, show little
vehemence of action. Fig. 121 gives one of this class. Fig. 122 is
very different. In this "the Lapith presses forward, advancing his
left hand to seize the rearing Centaur by the throat, and forcing
him on his haunches; the right arm of the Lapith is drawn back, as
if to strike; his right hand, now wanting, probably held a sword.
.... The Centaur, rearing up, against his antagonist, tries in
vain to pull away the left hand of the Lapith, which, in Carrey's
drawing [made in 1674] he grasps." [Footnote: A. H. Smith,
"Catalogue of Sculpture in the British Museum," page 136.] Observe
how skilfully the design is adapted to the square field, so as to
leave no unpleasant blank spaces, how flowing and free from
monotony are the lines of the composition, how effective (in
contrast with Fig. 121) is the management of the drapery, and,
above all, what vigor is displayed in the attitudes. Fig. 123 is
of kindred character.
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