(jazz music)
Dr. Zucker: We're in Naples at the
Archaeological Museum, looking at one
of the most famous sculptures from all of antiquity.
Dr. Harris: It was discovered in the Renaissance
during archaeological excavations in Rome
of the Baths of Caracalla.
Dr. Zucker: This is the so-called Farnese Hercules
and it gets that name because it was excavated
by the Farnese family.
They had been looking for building materials to take
from ancient sites to build a new palace,
but what they found in the Baths
were an extraordinary array of ancient sculptures.
Dr. Harris: We can reconstruct the original site
for this colossal sculpture.
There were mosaic floors,
walls made of different colored marble.
It was an incredibly luxurious bathing complex,
used by thousands of Romans every day
and it was decorated with hundreds of sculptures,
many of them colossal, like this one.
Dr. Zucker: These were really complex structures,
these bathing facilities.
There were the baths themselves.
Some were cold, some were hot.
There were rooms for transition from one temperature
to another.
There were places where one could exercise
and this sculpture makes perfect sense
in this environment.
This is a place where you would go to work out,
where you would go to exercise.
You could look at this wildly muscular figure
and have a bit of a goal.
Dr. Harris: Many of the sculptures that were found
in the Baths of Caracalla were not the typical, ideal,
athletic copies of Greek sculptures that we think of,
but they were especially bulky, like the Hercules
that we see here.
Dr. Zucker: We know that some successful
Greek athletes would sometimes dedicate sculptures
to Hercules in a way thanking him for their successes.
Dr. Harris: He was a symbol of strength and heroism.
Dr. Zucker: You can see that here, but there's also irony
in Lysippos' treatment, because even as we see
this wildly powerful figure, this incredible musculature,
we also see a figure that is exhausted.
Dr. Harris: He really is.
He leans almost his full weight on a club
that's propped up under his arm, so you're right,
there is an irony between the brute strength
of his articulated muscles and the languorousness
of his pose.
Dr. Zucker: Look at the way in which that abdomen
is articulated.
Look at the strength of his right shoulder,
of his right upper arm.
It's really massive.
Dr. Harris: He thrusts his right hip out,
so that he can fully lean his weight on his left side.
Dr. Zucker: There is this marvelous contrapposto,
although the legs seem to be somewhat reversed,
but I love the way his torso slouches over as he leans
and there's this overemphasized turn of that torso.
Dr. Harris: But the club doesn't look
like a very secure support.
Dr. Zucker: No, the whole thing is slightly precarious.
Dr. Harris: It seems as if Lysippos and Glycon,
who copied Lysippos' sculpture and there are more
than 80 copies of sculptures of the weary Hercules
that have survived, but it does seem as though
he's calling our attention to Hercules' hands
and Hercules is famous as a hero who became a god
and who these amazing exploits,
the 12 labors of Hercules.
I'm noticing the open left hand and the way
that the right hand is brought behind his back,
so we really want to move around the sculpture
to see what's in his right hand.
Dr. Zucker: That's right.
The artist has set us up so that we absolutely want
to walk around.
The left hand is not original, that's been lost.
So what we're seeing is a plaster reconstruction,
but the right hand is original and if you walk
around the sculpture, you actually see that he's holding
the apples that he would have gotten from one
of those labors, the labor the apples of the Hesperides.
This is all part of the legend of Heracles.
Heracles was the original Greek figure
and the Romans would call him Hercules.
What happened was this brute of a man, in a fit,
killed his children.
The gods of Mount Olympus punished him
by putting this man, Heracles, who was the son of a god
and of a human, therefore a hero.
They made him subservient to a king and he had
to perform whatever deeds this king asked of him
for 12 years.
This was his punishment.
The king asked of him tremendously difficult tasks.
The first of which was the killing of the Nemean lion.
If you look carefully, just draped over the club,
you can see the pelt of that lion that he had slayed.
This sculpture is actually referring
to two of those labors.
Dr. Harris: One of the things that seems a little strange
as we look up at him is how small his head is.
This is something that Lysippos, the Greek sculptor -
Dr. Zucker: The original sculptor -
Dr. Harris: That this was based on, was known for,
was changing the cannon of proportions that existed
during the Classical period in Greece in the fifth century
where there was more of a sense of harmony
and balance between the parts of the body.
Lysippos created a new set of proportions,
where the figure was taller, the head was smaller,
and they gave the figure a new sense of elegance.
Dr. Zucker: Elegance and also of height.
Here, it's married, of course, with this increased bulk.
The other thing that Lysippos is so well known for,
which you mentioned earlier, is the way in which
he begins to break out of the more restricted space
that Classical figures had generally occupied,
so that by extending, for instance, that left hand,
by moving that right hand behind his back,
he really does invite us to understand this sculpture
in the round, as opposed to seeing it as a frontal object.
The thing that strikes me most, though,
about this sculpture, is the way in which
we can understand his feeling of exhaustion
and the way that's contrasted
against the potential energy and power of that body.
Dr. Harris: The things that we're talking about,
the new cannon of proportions, the way that we're asked
to move around the sculpture, not only do I want
to walk behind it to see what's in his right hand,
but I also want to walk to the place
where he is looking down to, so we can look up
at his face and see the expression,
the sense of empathy we have for him.
These are all things that are typical
of the Hellenistic period of ancient Greek art
that this copy was based on.
Dr. Zucker: Clearly, something that the
Romans really appreciated.
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