Skopas is the sculptor of his work. The problem of movement and compositional patterns "Maenad"

Skopas Shalom Leibovich Interview - Grigory Koifman I was born in July 1925 in the city of Panevezys in Lithuania. There were four brothers in our family. My father went to America to work in 1928 and did not return to Lithuania. Our family rented a room and a half; throughout my childhood we were poor and

Skopas Shalom Leibovich (Interview with G. Koifman)

Skopas Shalom Leibovich (Interview with G. Koyfman) assistant platoon commander of the 18th separate reconnaissance company of the 16th Lithuanian Rifle Division On January 12, 1945, a few days before the division was transferred from Courland to Klaipeda, I received an order to immediately take a fresh

Skopas

SKOPAS (flourished 375-335 BC), Greek sculptor and architect, born on the island of Paros c. 420 BC, possibly son and student of Aristander. The first work of Skopas known to us is the temple of Athena Alea in Tegea, in the Peloponnese, which had to be rebuilt since the previous one burned down in 395 BC. The project has an interesting solution: unusually slender Doric columns along the perimeter and Corinthian semi-columns inside the cella. On the eastern pediment the hunt for the Calydonian boar was depicted, on the western pediment a duel between the local hero Telephus and Achilles; Scenes from the myth of Telephes were reproduced on the metopes. The heads of Hercules, warriors, hunters and a boar, as well as fragments of male statues and a female torso, probably Atalanta, have been preserved.

Skopas was one of a group of four sculptors (and may have been the eldest among them) who were commissioned by Mausolus' widow Artemisia to create the sculptural part of the Mausoleum (one of the Seven Wonders of the World) at Halicarnassus, the tomb of her husband. It was completed approx. 351 BC Skopas owns the sculptures on the eastern side; the slabs of the eastern frieze are characterized by the same style as the statues from Tegea. The passion inherent in Skopas’s works is achieved primarily through a new interpretation of the eyes: they are deep-set and surrounded by heavy folds of the eyelids. The liveliness of movements and bold positions of the bodies express intense energy and demonstrate the ingenuity of the master.

The most famous work Scopas was a group of sea deities in the sanctuary of Neptune in Rome, who perhaps accompanied Achilles on his journey to the Isles of the Blessed. Perhaps the frieze with Poseidon, Amphitrite, Tritons and Nereids riding on sea monsters (now in Munich), and the scene of sacrifice (now in the Louvre) represented the basis on which this group was located in Rome in the 1st century. AD A statue of Apollo with a lyre by Scopas stood in a temple on the Roman Palatine between Artemis by Timothy and Leto the younger Kephisodotus. All three are copied on a pedestal from Sorrento, and Apollo is also copied in a statue (in Munich) and in a torso (in Palazzo Corsini in Rome). Other works attributed to Skopas are Aphrodite Pandemos riding on a goat (in Elis, there are images on coins), Aphrodite and Pothos (from the island of Samothrace), Pothos with Eros and Himera (from Megara), as well as three statues in Rome - a colossal seated the figure of Ares, the seated Hestia and the naked Aphrodite, which some connoisseurs placed above the famous Aphrodite of Cnidus, owned by Praxiteles.

Lysippos

LYSIPPUS (c. 390 - c. 300 BC), ancient Greek sculptor, born in Sikyon (Peloponnese). In antiquity it was claimed (Pliny the Elder) that Lysippos created 1,500 statues. Even if this is an exaggeration, it is clear that Lysippos was an extremely prolific and versatile artist. The bulk of his works were predominantly bronze statues depicting gods, Hercules, athletes and other contemporaries, as well as horses and dogs. Lysippos was the court sculptor of Alexander the Great. A colossal statue of Zeus by Lysippos stood in the agora of Tarentum. According to the same Pliny, its height was 40 cubits, i.e. 17.6 m. Other statues of Zeus were erected by Lysippos in the agora of Sicyon, in the temple at Argos and in the temple of Megara, and last work represented Zeus accompanied by the Muses. An image of a bronze statue of Poseidon with one leg on a raised platform that stood in Sikyon is found on surviving coins; a copy of it is a statue resembling the image on coins in the Lateran Museum (Vatican). The figure of the sun god Helios, created by Lysippos in Rhodes, depicted the god on a chariot drawn by four; this motif was used by the sculptor in other compositions. Copies in the Louvre, the Capitoline Museums and the British Museum depicting Eros loosening the string of a bow probably go back to the Eros of Lysippos at Thespiae. Also located in Sikyon, the statue depicted Kairos (god of luck): the god in winged sandals sat on a wheel, his hair hung forward, but the back of his head was bald; copies of the statue survive on small reliefs and cameos.

Municipal state-financed organization additional education
"Children's Art School of Pochinkovsky District"
Lecture course.
History of sculpture.
Skopas.
History of fine arts.
DHS.
Developer: art department teacher
MBU DO "DSHI Pochinkovsky district"
Kazakova Inna Viktorovna

2018
Skopas
Skopas can rightfully be called one of the greatest sculptors of Ancient
Greece. The direction he created in ancient plastic arts outlived the artist for a long time and
had a huge influence not only on his contemporaries, but also on the masters
subsequent generations. It is known that Skopas was from the island of Paros in the Aegean
sea, an island famous for its wonderful marble, and worked between 370–
330 BC. His father, Aristandros, was a sculptor, in the workshop
which, apparently, was where Skopas’ talent was shaped. The artist executed orders
different cities. There were two works by Skopas in Attica. One depicting
the avenging goddesses Erinyes - in Athens, another - Apollo Phoebe - in the city
Ramnunte. Two works by Skopas decorated the city of Thebes in Boeotia. One of the most
emotionally rich works of Skopas - a group of three figures,
depicting Eros, Pothos and Himeros, that is, love, passion and desire. Group
was in the temple of the goddess of love Aphrodite in Megaris, a state lying to the south
from Boeotia. The images of Eros, Himeros and Pothos, according to Pausanias, are also
differ from one another, just as what they personify actually differ
feelings. “The compositional construction of the statue of Pothos is much more complex than in more
early works Skopas, writes A.G. Chubova. - Smooth soft rhythm
movement passes through arms extended to one side, head raised,
strongly inclined body. To convey the emotion of passion, Skopas does not resort here to
strong facial expressions. Pothos's face is thoughtful and concentrated, melancholic and languid
the gaze is directed upward. Everything around him seems to not exist for the young man. Like everyone else
Greek sculpture, the statue of Pothos was painted and the color played important role V
general artistic concept. The cloak hanging from the youth's left arm was brightly
blue or red, which emphasized whiteness well nudity, left
in marble color. stood out clearly against the background of the cloak White bird with wings, easy
tinted gray. Hair, eyebrows, eyes, cheeks and
lips of Pothos. Probably the statue of Pothos, like the statue of Himeros, stood on a low
pedestal, and the statue of Eros is on a higher one. This explains the rotation of the figure
Pothos and the direction of his gaze. The task posed by Skopas in this
work, was new and original for the plastic arts of that time. Translated into
statues of Eros, Pothos and Himeros nuances of large human feelings, he revealed
before plastic art, the possibility of transferring and other various
emotions." Working in the temple of the Peloponnesian city of Tegea, Skopas became famous not
only as a sculptor, but also as an architect and builder. Ancient temple burned in Tegea
395 BC. Pausanias says that “the present temple, with its majesty and
its beauty surpasses all the temples, how many of them there are in the Peloponnese... Its architect
there was a Parian Scopas, the same one who built many statues in ancient Hellas,
Ionia and Caria." On the eastern pediment of the Temple of Athena Alea in Tegea the master

introduced the hunt for the Calydonian boar. "On the western pediment was shown
scene from a myth, writes G.I. Sokolov, which is also far from the participation of those popular in V
century of the supreme Olympic deities, but with a complex collision and dramatic
denouement. The Greeks did not recognize the son of Hercules Telephus, who went to war with Troy, and
a battle began that ended in the death of many of its participants. Not only tragic
the subjects chosen for these pediments, but also the images themselves. Master shows
the head of one of the wounded was slightly thrown back, as if in excruciating pain.
Sharply curved lines of eyebrows, mouth, nose convey excitement and colossal
tension of feelings. The inner corners of the eye sockets, deeply cut into the thickness of the marble,
enhance contrasts of light and shade and create powerful dramatic
effects. Relief of the face with swollen muscles of the brow ridges, swollen corners
mouth, uneven, lumpy, distorted by hidden suffering.” The most significant of
creations of Scopas in round plastic can be considered a statue of a Bacchae (Maenad) with
baby goat

Only an excellent copy of the statue has survived, kept in the Dresden Museum. But
4th century writer Callistratus left detailed description statues: “Skopas
a statue of the Bacchante was created from Parian marble, it could seem alive...
You could see how this stone, hard by nature, imitates the feminine
tenderness, he himself seemed to become light and conveyed to us female image... Deprived of
the nature of the ability to move, he learned under the artist’s hands what it means to rush
in a Bacchic dance... The insane ecstasy was so clearly expressed on the Bacchante’s face, although
after all, the stone is not characterized by the manifestation of ecstasy; and everything that covers the soul,
stung by the sting of madness, all these signs of grave mental suffering were clear
presented here by the creative gift of the artist in a mysterious combination. Hair
as if they were given over to the will of Zephyr, so that he could play with them, and the stone itself seemed to
turned into tiny strands of lush hair... The same material served
to the artist to depict life and death; He presented the Bacchante before us
alive when she strives for Kiferon, and this goat is already dead... Thus,
Skopas, creating images of even these lifeless creatures, was an artist,
full of truthfulness; in bodies he was able to express the miracle of spiritual feelings..." Many
poets wrote poems about this work. Here is one of them: Parian Stone

bacchante, But the sculptor gave the stone a soul. And, like a drunken woman, she jumped up and rushed to dance
she. Having created this fiad in a frenzy with a killed goat with an idolizing chisel, you are a miracle
done, Skopas. The famous creations of Skopas were also located in Asia Minor, where he
worked in the fifties of the 4th century BC, in particular, decorated the temple
Artemis in Ephesus. And most importantly, together with other sculptors Skopas participated in
design of the Halicarnassus mausoleum, executed in 352 and decorated with
truly oriental splendor. There were statues of the gods, Mausolus, his wife,
ancestors, sculptures of horsemen, lions and three relief friezes. On one of the friezes there was
depicts a chariot race, the other depicts the struggle of the Greeks with centaurs
(fantastic half-people, half-horses), on the third - Amazonomachy, that is, battle
Greeks and Amazons. Only small fragments of the first two reliefs have survived
fragments, from the third - seventeen slabs. It is believed that Skopas was the author
Amazonomachy.
Indeed, only a brilliant sculptor could create such an emotional
rich, dynamic multi-figure composition. Frieze with Amazonomachy,
having a total height of 0.9 meters, with figures equal to approximately a third
human height, encircled the entire structure, and if we cannot accurately
say in which part it was placed, then you can still determine its length,
approximately equal to 150–160 meters.
It probably contained more than 400 figures. The Legend of the Amazons -
mythical tribe of female warriors - was one of the favorite topics
Greek art. According to legend, they lived in Asia Minor on the Thermodon River and,
undertaking long military campaigns, they even reached Athens. They entered into
battles with many Greek heroes and were distinguished by courage and dexterity. One of
Such battles are depicted on the Halicarnassian frieze. The battle is in full swing, and
it's hard to say who the winner will be. The action unfolds at a rapid pace.
The Amazons and Greeks on foot and on horseback attack fiercely and defend themselves bravely. Persons

the combatants are overwhelmed by the pathos of the battle. Features of compositional construction
frieze was a free placement of figures on a background that was once painted bright blue
color. Comparison of surviving slabs shows the general artistic design,
general compositional structure frieze. It is quite possible that the composition
belongs to one artist, but it is unlikely that the author himself assembled all the individual
figures and groups. He could outline the general arrangement of figures, give their sizes,
conceive general character actions and leave it to other masters to finish
relief in detail. On the slabs of this best-preserved frieze it is quite clear
The “handwriting” of the four masters differs. Outstanding artistic
three slabs with ten figures of Greeks and Amazons are distinguished by their merits,
found on the eastern side of the ruins; they are attributed to Skopas. On the slabs
considered the work of Leochares and Timothy, the swiftness of the movement is emphasized
not only by the poses of the fighters, but also enhanced by the fluttering cloaks and
chitons. Skopas, on the contrary, depicts the Amazons only in short adjacent
clothes, and the Greeks completely naked and achieves an expression of strength and speed
movements mainly by bold and complex turns of figures and expression
gestures One of Skopas’ favorite compositional techniques was the technique
collisions of oppositely directed movements. So, the young warrior, having fallen on
knee, maintains balance while touching the ground right hand and dodging the blow
Amazons defend themselves by extending their left hand forward with a shield. Amazon lunging
away from the warrior, at the same time swung her ax at him. Amazon chiton tight
fits the body, outlining the shape well; fold lines emphasize movement
figures. The location of the Amazon figure on the next slab is even more complicated. Young
the warrior, retreating from the rapidly attacking bearded Greek, manages to do everything
strike him vigorously. The sculptor managed well to convey the dexterous
the movements of the Amazon, quickly dodging an attack and immediately going on the attack.
The pose and proportions of the figure, the clothes opened so that they were exposed
half the body of an Amazon - everything closely resembles famous statue Bacchae.
Skopas especially boldly used the technique of contrasting movements in the figure
horse Amazon. The skillful horsewoman let the well-trained horse gallop,
turned her back to his head and fired at enemies with a bow. Her short chiton
opened up, showing strong muscles. In Skopas' compositions the impression
the intensity of the fight, the fast pace of the battle, the lightning speed of blows and lunges
achieved not only by different rhythms of movement, free placement of figures on
plane, but also through plastic modeling and masterful execution of clothing.
Each figure in Skopas’ composition is clearly “readable”. Despite the low
relief, the depth of space is felt everywhere. Skopas probably also worked on
chariot race scene. A fragment of a frieze with the figure of a charioteer has survived.
Expressive face, smooth body curve, close to the back and hips
long clothes - everything resembles the Skopasovsky Amazons. The interpretation of eyes and lips is close
Tegean heads. Skopas's bright personality, his innovative techniques in
disclosure inner world person, in conveying strong dramatic

experiences could not but affect everyone who worked next to him. Especially strong
Scopas influenced the young masters Leochares and Briaxis. According to Pliny,
namely the sculptors Scopas, Timofey, Briaxis and Leochares with their works
made this structure so remarkable that it was included in the Seven Wonders of the World.
"Fluent various techniques sculptures, Skopas worked in both marble and
bronze, writes A.G. Chubova. - His knowledge of plastic anatomy was perfect.
The depiction of the most complex positions of the human figure did not represent for
him difficulties. Skopas's imagination was extremely rich; he created a whole
a gallery of vividly characterized images. His realistic works
imbued with high humanism. Impressing different sides deep
experiences, drawing sadness, suffering, passion, bacchanalian ecstasy, warlike ardor,
Scopas never interpreted these feelings in a naturalistic way. He poeticized them
making the viewer admire spiritual beauty and the strength of its heroes."

Skopas can rightfully be called one of the greatest sculptors of Ancient Greece. The direction he created in ancient plastic arts outlived the artist for a long time and had a huge influence not only on his contemporaries, but also on the masters of subsequent generations.

It is known that Skopas was from the island of Paros in the Aegean Sea, an island famous for its remarkable marble, and was active between 370–330 BC. His father, Aristandros, was a sculptor, in whose workshop, apparently, Skopas’ talent was formed.

The artist fulfilled orders from different cities. There were two works by Skopas in Attica. One, depicting the avenging goddesses Erinyes, was in Athens, the other, Apollo-Phoebus, in the city of Ramnunt. Two works by Skopas decorated the city of Thebes in Boeotia.

One of the most emotionally intense works of Skopas is a group of three figures depicting Eros, Potos and Himeros, that is, love, passion and desire. The group was in the temple of the goddess of love Aphrodite in Megaris, a state lying south of Boeotia.

The images of Eros, Himeros and Pothos, according to Pausanias, are as different from one another as the feelings they personify actually differ.

“The compositional construction of the statue of Pothos is much more complex than in earlier works by Skopas,” writes A. G. Chubova. - The rhythm of smooth, soft movement passes through arms extended to one side, a raised head, and a strongly tilted body. To convey the emotion of passion, Skopas does not resort to strong facial expressions here. Pothos's face is thoughtful and concentrated, his melancholic, languid gaze is directed upward. Everything around him seems to not exist for the young man. Like all Greek sculpture, the statue of Pothos was painted, and color played an important role in the overall artistic design. The cloak hanging from the young man's left arm was bright blue or red, which well emphasized the whiteness of the naked body, left in the color of marble. A white bird with wings lightly tinted gray stood out clearly against the background of the cloak. Pothos's hair, eyebrows, eyes, cheeks and lips were also painted.

Probably the statue of Pothos, like the statue of Himeros, stood on a low pedestal, and the statue of Eros on a higher one. This explains the rotation of Pothos's figure and the direction of his gaze. The task posed by Skopas in this work was new and original for the plastic arts of that time. Having embodied the nuances of great human feelings in the statues of Eros, Pothos and Himeros, he revealed to plastic art the possibilities of conveying other diverse emotions.”

Working in the temple of the Peloponnesian city of Tegea, Skopas became famous not only as a sculptor, but also as an architect and builder.

The ancient temple at Tegea burned down in 395 BC. Pausanias says that “the current temple in its majesty and beauty surpasses all the temples there are in the Peloponnese... Its architect was the Parian Scopas, the same one who built many statues in ancient Hellas, Ionia and Caria.”

On the eastern pediment of the Temple of Athena Alea in Tegea, the master presented the hunt for the Calydonian boar.

“On the western pediment a scene from a myth was shown,” writes G.I. Sokolov, “also far from the participation of the supreme Olympic deities popular in the 5th century, but with a complex collision and dramatic outcome. The Greeks did not recognize the son of Hercules Telephus, who went to war with Troy, and a battle began that ended in the death of many of its participants. Not only the subjects chosen for these pediments are tragic, but also the images themselves.

The master shows the head of one of the wounded slightly thrown back, as if in excruciating pain. The sharply curved lines of the eyebrows, mouth, and nose convey excitement and colossal tension of feelings. The inner corners of the eye sockets, deeply cut into the thickness of the marble, enhance the contrasts of light and shade and create powerful dramatic effects. The relief of the face with swollen muscles of the brow ridges, swollen corners of the mouth, uneven, bumpy, distorted by hidden suffering.”

The most significant of Skopas’s creations in round plastic can be considered the statue of a Bacchante (Maenad) with a kid.

Only an excellent copy of the statue has survived, kept in the Dresden Museum. But the 4th century writer Callistratus left a detailed description of the statue:

“Scopas created a statue of the Bacchae from Parian marble, it could seem alive... You could see how this stone, hard by nature, imitating feminine tenderness, itself became as if light and conveys to us a female image... Deprived by nature of the ability to move, it under the artist’s hands I learned what it means to rush around in a Bacchic dance... The mad ecstasy was so clearly expressed on the Bacchante’s face, although the manifestation of ecstasy is not characteristic of stone; and everything that covers the soul, stung by the sting of madness, all these signs of severe mental suffering were clearly presented here by the creative gift of the artist in a mysterious combination. The hair seemed to be given over to the will of Zephyr, so that he could play with it, and the stone seemed to itself turn into the smallest strands of lush hair...

The same material served the artist to depict life and death; He presented the Bacchante alive before us, when she strives for Kiferon, and this goat is already dead...

Thus, Skopas, creating images of even these lifeless creatures, was an artist full of truthfulness; in bodies he was able to express the miracle of spiritual feelings..."

Many poets wrote poems about this work. Here is one of them:

Parian bacchanal stone, But the sculptor gave the stone a soul. And, drunk as she was, she jumped up and started dancing. Having created this fiad in a frenzy with a killed goat With an idolizing chisel, you performed a miracle, Skopas.

The famous creations of Skopas were also located in Asia Minor, where he worked in the fifties of the 4th century BC, in particular, he decorated the Temple of Artemis in Ephesus.

And most importantly, together with other sculptors, Skopas participated in the design of the Halicarnassus Mausoleum, completed in 352 and decorated with truly oriental splendor. There were statues of gods, Mausolus, his wife, ancestors, statues of horsemen, lions and three relief friezes. One of the friezes depicted a chariot race, another depicted a fight between the Greeks and centaurs (fantastic half-humans, half-horses), and the third depicted an Amazonomachy, that is, a battle between the Greeks and the Amazons. From the first two reliefs only small fragments have survived, from the third - seventeen slabs.

The frieze with Amazonomachy, having a total height of 0.9 meters, with figures equal to about a third of human height, surrounded the entire structure, and if we cannot say with accuracy in which part it was placed, then it is still possible to determine its length, approximately equal to 150–160 meters. It probably contained more than 400 figures.

The legend of the Amazons - a mythical tribe of female warriors - was one of the favorite themes of Greek art. According to legend, they lived in Asia Minor on the Thermodon River and, undertaking long military campaigns, even reached Athens. They entered into battles with many Greek heroes and were distinguished by their courage and dexterity. One of these battles is depicted on the Halicarnassian frieze. The battle is in full swing and it is difficult to say who will be the winner. The action unfolds at a rapid pace. The Amazons and Greeks on foot and on horseback attack fiercely and defend themselves bravely. The faces of the combatants are captured by the pathos of battle.

A feature of the compositional structure of the frieze was the free placement of figures on a background that was once painted bright blue. A comparison of the surviving slabs shows the general artistic design and the general compositional structure of the frieze. It is very possible that the composition belongs to one artist, but it is unlikely that the author himself composed all the individual figures and groups. He could outline the general arrangement of the figures, give their dimensions, conceive the general nature of the action and leave it to other masters to finish the relief in detail.

On the slabs of this best-preserved frieze, the “handwriting” of the four masters can be clearly distinguished. Three slabs with ten figures of Greeks and Amazons, found on the eastern side of the ruins, are distinguished by their outstanding artistic merit; they are attributed to Skopas. On the slabs, considered the work of Leochares and Timofey, the swiftness of movement is emphasized not only by the poses of the combatants, but also enhanced by the flowing cloaks and chitons. Skopas, on the contrary, depicts the Amazons only in short, close-fitting clothes, and the Greeks completely naked, and achieves an expression of strength and speed of movement mainly through bold and complex turns of figures and expression of gestures.

One of Skopas’ favorite compositional techniques was the technique of collision of oppositely directed movements. Thus, a young warrior, having fallen to his knee, maintains his balance, touching the ground with his right hand and dodging the Amazon’s blow, defends himself by extending his left hand forward with a shield. The Amazon lunged away from the warrior and at the same time swung her ax at him. The Amazon chiton fits tightly to the body, outlining the shape well; fold lines emphasize the movement of the figure.

The location of the Amazon figure on the next slab is even more complicated. The young warrior, retreating from the rapidly attacking bearded Greek, still manages to strike him with an energetic blow. The sculptor was well able to convey the dexterous movements of the Amazon, quickly dodging an attack and immediately going on the attack. The pose and proportions of the figure, the clothes that opened so that half of the Amazon’s body was exposed - everything closely resembles the famous statue of the Bacchae. Skopas especially boldly used the technique of contrasting movements in the figure of the equestrian Amazon. A skilled horsewoman let her well-trained horse gallop, turned her back to his head and fired at her enemies with a bow. Her short chiton fell open, revealing strong muscles.

In Skopas's compositions, the impression of the intensity of the struggle, the fast pace of the battle, the lightning speed of blows and attacks is achieved not only by the different rhythm of movement, the free placement of figures on the plane, but also by plastic modeling and masterful execution of clothing. Each figure in Skopas’ composition is clearly “readable”. Despite the low relief, the depth of space is felt everywhere. Skopas probably also worked on the chariot race scene. A fragment of a frieze with the figure of a charioteer has survived. An expressive face, a smooth curve of the body, long clothes that fit tightly to the back and hips - everything is reminiscent of the Skopasov Amazons. The interpretation of the eyes and lips is close to the Tegean heads.

Skopas’s bright personality, his innovative techniques in revealing a person’s inner world, in conveying strong dramatic experiences could not but influence everyone who worked next to him. Scopas had a particularly strong influence on the young masters Leochares and Briaxis. According to Pliny, it was the sculptors Scopas, Timothy, Briaxis and Leochares who made this structure so remarkable with their works that it was included in the Seven Wonders of the World.

“Fluent in various sculpture techniques, Skopas worked in both marble and bronze,” writes A. G. Chubova. - His knowledge of plastic anatomy was perfect. Depicting the most complex positions of the human figure did not present any difficulties for him. Skopas's imagination was extremely rich; he created a whole gallery of vividly characterized images.

His realistic works are imbued with high humanism. Capturing various aspects of deep experiences, depicting sadness, suffering, passion, bacchanalian ecstasy, warlike ardor, Skopas never interpreted these feelings naturalistically. He poeticized them, forcing the viewer to admire the spiritual beauty and strength of his heroes.”