Hera and Charioteer
...referred to later in the paper. The circular platform that she stands on completes the look of a column. The Charioteer, although a little more complex in the drapery design, is also in the shape of a column. This aspect of geometry is personified in order to embody emotional stability. Stability is also shown by the position of the feet of the two figures. Although only the toes are visible on Hera, it is apparent that the feet are close together, making her seem still. The Charioteer’s toes are slightly arched, creating a sense of him grasping the ground. The position of his feet in relation to his head pertains to the action he is performing. His feet are slightly apart and established in one direction, while his head is turned the other direction, revealing that he is probably facing the horse while he is stabilizing himself. Classical art typically displays different ways of achieving balance. The implication of movement is a characteristic of Classical art that separates the Charioteer from Hera. The Charioteer’s arm is in action by grasping the reins. While the reins are in obvious movement, suspended in the air, the man clearly exhibits control the reins and in turn the animals. The reins may be used to exhibit chaos while the Charioteer represents ethos, or control of himself. Hera is clearly not in a state of action. One arm is simply covering her chest, creation a closed form. This is the way that she keeps her calmness, her inner stability. There are certain aspects of the Charioteer that make him seem more natural than Hera. His drapery seems to fit him more loosely, and is only held together by his belt. Although there are straight lines present, free-moving waves form the drapery at the top. Another way the Charioteer creates a more naturalistic depiction of human beings is the expression on his face. From the full body angle it appears he is actually smiling. The lips are curving and closed, yet unfastened. In this way, the Charioteer ...