The enigmatic figure of Hermes, messenger of the gods, often depicted with winged sandals, holds a significant place in classical art. However, a specific type of Hermes sculpture, known as *Hermes a la Sandale* (Hermes with the Sandal), presents a fascinating case study in the complexities of Roman copying, the enduring allure of lost Greek originals, and the interwoven narratives of myth and artistic representation. These sculptures, existing in numerous variations, are all Roman marble copies of a lost Greek bronze original, attributed to the style of Lysippos and dating back to the 4th century BC. Their study reveals much about the artistic practices of both the Hellenistic and Roman periods, the transmission of artistic ideas across time and cultures, and the enduring power of mythological themes.
The Lost Original and its Roman Echoes:
The absence of the original Greek bronze *Hermes a la Sandale* intensifies the mystery surrounding these sculptures. While no original survives, the numerous Roman marble copies provide invaluable clues about its form and style. The consensus among art historians points to a bronze original, executed in the style of Lysippos, one of the most influential sculptors of the Hellenistic period. Lysippos, known for his elegant and dynamic figures, often depicted athletes and heroes in motion, capturing a sense of fluidity and naturalism. This stylistic influence is clearly visible in the Roman copies of *Hermes a la Sandale*, which often feature a graceful, almost languid pose, a characteristic of Lysippos's work.
The Roman copies, while numerous, are not identical. Variations in pose, detail, and even the presence or absence of certain attributes (such as a satchel or a herm pillar) suggest either different workshops or deliberate artistic choices made by Roman sculptors. This variation, while initially appearing as a problem for establishing a definitive image of the original, actually offers a rich insight into the Roman approach to artistic reproduction. It suggests a degree of artistic license, a willingness to adapt and reinterpret the original rather than simply creating a slavish imitation. This practice reflects the Roman appreciation for Greek art, but also their desire to integrate it into their own cultural context.
The material choice – marble instead of bronze – also reflects the Roman preference for marble sculpture. While bronze was highly valued, marble allowed for greater detail and a smoother finish, which was suited to the Roman aesthetic. The shift in material, however, inevitably introduced subtle changes in the overall effect. The weight and solidity of marble altered the feeling of movement and dynamism present in the hypothesized bronze original.
Mythological Contexts: The Sandal as a Symbol:
The seemingly simple detail of the sandal plays a significant role in the interpretation of these sculptures. The act of Hermes tying or adjusting his sandal is not merely a casual pose; it carries symbolic weight within the broader context of Greek mythology. The themes of journeys, quests, and the transient nature of life are all subtly evoked by this seemingly mundane action.
The myths of Theseus and Jason, both involving the loss or discovery of a sandal, provide compelling parallels. Theseus, in his quest to slay the Minotaur, famously lost a sandal in his flight from Crete. Similarly, Jason, leader of the Argonauts, lost a sandal while fleeing Pelias. These stories, steeped in the symbolism of heroic journeys and trials, lend a deeper meaning to the seemingly simple act of Hermes adjusting his sandal. The sandal, therefore, becomes a subtle allusion to these heroic narratives, connecting the sculpture to a rich tapestry of mythological associations. It is a detail that elevates the sculpture beyond a mere representation of a god to a symbolic representation of journeys, challenges, and the unpredictable nature of fate.
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