Bernini, APOLLO e Dafni

Speranza




The classicissing idealisataion of the figures and the smoothness and perfection of the surfaces seem to be far removed from any realism.

AND YET the interpretation of the event could HARDLY be more realistic.

With an unprecedented directness, BERLININ represented the transitory moment of the METAMORPHOSIS itself.

Nothing like it had been ATTEMPTED in statuary before.

His approach to the subject is essentially NON-CLASSICAL. The same is true of the PSYCHOLOGICAL complications, the conflicdt between SENSATIONS and physical reactions to be found in the group.

DAFNI turns back HORROR-stricken because she feels the HAND of the pursuer. BUT SHE IS NOT AWARE of the simultaneous transformation of her BODY.

APOLLO, however, DOES notice, with AMAZEMENT, the transformation at the very moment when he seemed to be SURE of his victim.

BUT HIS BODY has not time to react and he is STILL CHASING what he suddenly SEES to be unattainable.

SIMILAR psycho-physical subtleties, UNKNOWN to antique statuary, were to reappear in Bernini's other statuary.