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Relief Image of a Poet
[Ath.Mitt. XXVI 1901 pp.126-142]
The
relief fragment depicted on Plate VI was found on January 20, 1899
during the excavations of the German Institute on the western slope of
the Acropolis of Athens in a layer of ancient rubble. The circumstances
of the find do not allow any conclusions to be drawn about its origin.
It is a slab of Pentelic marble broken on the left, 0.21 m high, 0.16 m
wide at the top and 0.11 m at the bottom, 0.025 m thick, over which the
relief rises up to 0.012 m, the base slab 0.015 m. The bottom surface
is smooth, the other sides are left rough, only the front edges are
slightly smoothed. There is a pin hole at the top right, surrounded by
an approx. 0.06 m wide attachment. The top right corner is beveled. The
surface of the relief is overall well preserved, only small pieces have
broken off on the back of the figure's head, next to and above the eye
[1], on the beard, on the hand and on the coat on the shoulder. The
right foot is lost with most of the relief.
Plate 6: Relief of poet seated in chair.
The coat is
pulled tightly around the body, the lines of which stand out clearly.
The end of the cloak is thrown over the lap from behind and hangs down
in front, where it appears again between the leg and the chair over the
left foot. The left arm is completely hidden in the cloak. The right
leg is forward, the left one is put back and disappears behind the foot
of the chair. From the clothing of the feet one can only see the wide
piece of leather of the sandal on the left foot, which protects the
foot on the instep, on the right the end of the strap rising from the
heel, which is bent back, is still preserved. The seat is a stone
armchair with a half-high backrest and low, short armrests. Its
thickened edge ends in a volute above the seat plate. The seat is
supported by a lion's foot, modeled in very flat relief. These parts of
the relief are also carefully worked in a concise and definite form,
but without delicate detailed work. A striving for natural truth is
unmistakable in the treatment of garments. The deeply incised folds,
which are narrow and straight at the top, wider and with a sharp edge
at the bottom, successfully bring out the characteristic features of
the body shapes and the fabric of the garment. The tight drawing of the
folds where the cloak is wedged between the chair and the body, at the
crook of the knee and under the left arm, as well as from the shoulder
down to the left arm, is particularly significant.
Due to its
shallow depth of carving, the piece is to be counted among the
bas-reliefs. It is remarkable how the right, rear leg is worked at the
same height as the front one and only gradually disappears behind the
left knee, decreasing in relief. It corresponds to the law established
in the nature of the bas-relief that all parts of the relief remain as
close as possible to the surface of the stone when it is worked into
the stone. If parts of the representation that are to be thought of in
(p.128) different levels overlap, the level that is to be thought of as
deeper is led backwards at an angle, so that a slight difference in
height is noticeable at the overlap. [1]
The
position of the figure, which has been pushed into profile in such a
flat relief, is essential for the assessment. In the bas-relief, the
full profile position, which appears so frequently in archaic art, is
very rare in the times of the flourishing of art. Even if the profile
line of the faces rests directly on the ground, e.g. B. in the large
Eleusinian relief (Friederichs-Wolters 1182; ?????????, ?????? 126),
the bodies appear in a three-quarter view, so that the turned-away half
of the body also appears. A bas-relief with full profile position from
the IV century is the Bryaxis base in the Athenian National Museum (N°
1733, BCH 1S92 taf. 3, ??????'?? ???????. 1893 taf. 6); perhaps the
depiction of the rider made it necessary here. Only in the second half
of the 4th century does the frieze of the Lysicrates monument offer a
number of examples of pure profile positioning. The artist of this
relief not only placed a seated figure perfectly in profile, but also
went beyond the natural limits of the bas-relief by allowing the left
arm to reach the ground and thereby attempting to gain the illusion of
greater depth. [2]. In this way the impression of full physicality,
which otherwise only high relief can give, is achieved, and the eye of
the beholder is deceived at first sight. But soon, when the gaze is
drawn to the plastic elevation, one notices that the shortening of the
left forearm has failed, even if it is less noticeable due to the
covering, and (p.129) feels the squeezed position of the left leg
behind the foot of the armchair as unsightly.
According to the overall impression of the work,
the relief must be placed as close as possible to the best times of
Attic art; but the realism of the treatment of the drapery and the
peculiarities of the technique of relief discussed make it impossible
to think of it having arisen earlier than in the last decades of the
fourth century BC.
The fact that the background of the relief is
plastic is no longer striking for this time, even for earlier ones
there is sufficient evidence. The Ivybele and Attis relief in Venice
[3], which is closely related to the Praxitelian muse base of Mantinea
and to the tripod base in Athens, which Benndorf traced back to
Praxiteles [4], should be cited as an example that can be fixed more
precisely in terms of time. At the bottom of this relief the door of
the sanctuary in which the deities are located is indicated in plastic
form. In the case of nymph reliefs and some hero reliefs [5], landscape
staffage can be found as early as the 5th century BC.
The shape of the sandals described above with the backwards bending heel strap does not seem to be common [6]. It is only known
to me from the representations of the Homeric (p.130) cups [7], where
such “spur-like hooks” (cf. Robert, p. 62) are noticeably large
attached to the men's footwear. It can be assumed that at the end of
the IV century this fashion began, the further developed form of which
we meet on the Homeric cups at the end of the III century.
Since
only the bottom surface of the relief is smoothed, it must have been
mounted freely on a relief support. It may have broken at the bottom
just where it was mortised into the girder. The top finish is unclear;
the smoothed area around the pin hole seems to indicate a corner
acroter. As a votive offering, the relief will have stood near the
Acropolis, if the addition suggested below is correct, in an area
sacred to Dionysus.
The addition is to be based on the attitude
of the sitter. He is not lost in thought, but he is contemplatively
looking at an object or a person who was at eye level across from him.
A
seated figure in this position of contemplation, which is very common
on tomb reliefs, is found once on a very ruined Asklepios relief in
Athens [8], but the proportions and the overall layout of our relief
make it appear that it belongs to the group excluded from the Asklepios
reliefs. On the other hand, the furnishing with a curtain, which moves
into the interior of a room, and a large armchair in connection with
the posture of the seated man suggests that this is a model for (p.131)
a type that was not present in later times rarely used to represent
poets. In a special composition, a poet seated opposite a mask, a type
closely related to our relief recurs several times. I am aware of the
following examples:
1. Berlin, description of
the sculptures N° 844. Sarcophagus with representation of the muses
from the Via Appia [9]. "The lid shows scenes from literary life on
both sides of the inscription." «Following the inscribed panel on the
right is a group in which first a tragic mask corresponds to the comic
one in the last scene to the left of the inscription; below her lies a
cloth over a rock. A bearded man, seated on a high-backed chair, is
looking at the mask, facing left, holding a scroll in his left hand and
raising his right hand to his face as if in thought. A diptych appears
to be attached to the rock beneath the mask. (Replaces the right arm
and the first forearm, both except for the hands)». The feet are bare,
as in the two following reliefs.
Fig.1: Relief from Villa Albani with two bearded man and large mask.
2.
Relief in Villa Albani [10], shown in fig.1. Size 0.33 x 0.21 m, below
the marble predominates as a base plate; the thickness is not visible.
The marble is coarse-grained and heavily glimmered, perhaps Thasic. The
additions—the head of the left figure, on the right part of the 1st arm
and r. Fusses—can be seen in the illustration, as can the current
wooden frame of the panel. The wide furrows of the interior design
point to the III century BC. A bearded man, whose head is noticeably
better carved than the rest of the relief, is seated on a boulder to
the left. He is dressed only in a cloak that hides both arms [11] and
looks at a large mask that stands (p.132) on a covered pedestal in
front of him. Behind the mask a second man, in all respects very
similar to the first, to the right, raising a scroll with his left.
Fig.2: Relief of seated man from Pompeii.
4.
Berlin, Gemmen 7679: «Bald-headed, fully clothed man seated to the
right and musingly contemplating a tragic mask standing in front of
him». 7680 «the same Upper body naked». The mask stands on an
altar-like pedestal and, like the first two depictions, is larger than
life in relation to the seated figure [15].
In these specimens, the poet's pose corresponds
fairly closely to our relief. The frequency of the composition of poet
and mask may be illustrated by a few more examples in which the poet
occupies a somewhat different position.
The monuments that Zoega
[op cit., Note 2) — the well-known Hellenistic relief image from the
Lateran and two Herculanian murals — are to be consulted later. Welcker
(ibid. note c) has collected further examples. Of these, "a small piece
of marble, a poet seated in front of a mask, has moved into a garden
wall of the Villa Poniatowsky" no longer exists; it is missing in
Matz-v. duhn A fragment from Palazzo Barberini («One is reading from a
scroll ; his listener leans on a column and one does not notice a
mask») will, if the additions are taken into account, be identical to
the tomb relief of Matz-V. Duhn 3729 (reprinted from Arch. Zeitung
1872, 138 Taf. 53, 2). I was not able to compare the tombstone
(Fabretti inscr. p. 704) and the gems mentioned by Welder. Finally, the
relief from Villa Altieri that Welcker mentions has recently been
published by Robert in Sarkophagreliefs II 52 N° 141 p.154. Pozzo's more
complete drawing (N° 141' on Plate 52) of the later (p.135) fragmented
piece gives a group of four 'letterati' including at the right end of
the row a bearded man raising his right hand in a gesture, with a
scroll in the Seated to the left in front of a large mask standing on a
round pillar [16].
A "letterati" on a
sarcophagus frieze in the Lateran (Robert loc. a. 0. N° 143) has the
same position. Benndorf and Schöne Lateran N° 12 b Plate 18,1 testify
to the mask in front of him. A curtain is stretched out behind him.
A
sarcophagus fragment in the British Museum - shows a bearded poet
seated to the right with a very similar arm position. A girl — probably
a muse — holds the mask out for him to look at.
Gems with such
representations are Furtwängler Gemmen I Taf. XXV 26. XXX 41, 45. LXI
60. LXII 9, Berlin Gemmen 4505, 4506. The poet reads on these; Berlin
gems 4524 show him gesticulating.
The examples show how popular
this combination of a poet with a mask was in later times. Among them,
the type of the pensive man, as shown in our Athenian fragment, is
represented several times. Since no new motifs were invented at that
time, but only old ones borrowed, one must conclude that this
composition was invented in good Greek times, and there is the greatest
probability that the Athenian relief can also be supplemented in a
corresponding way . It is then to be understood as a votive gift from a
scenic poet, and one may assume that such votive offerings were so
common in Athens in the IV century BC that they became typical of
poets' representations. In his discussion of Greek votive offerings (p.
54), Reisch also took this genre into account and cited the most
important examples.
In
his assessment he starts from the Hellenistic relief in the (p.136)
Lateran [18] and classifies this and thus the whole group among the
scenes from daily life, in which the consecrators see an image of
themselves in their usual occupation of the offering deity. In our
compilation, that relief and the similar relief fragment in Berlin that
Reisch uses have been deliberately omitted [19]. The Berlin fragment
(Sculptures 951) comes from Aquileia (fig.3): «a beardless young man, clothed
underneath, sits on a chair to the right, his right hand rests on his
chin, in his left he holds a bearded comical mask in front of him and
looks up. On his feet he wears delicately bound sandals».
Fig.3: Relief from Aquileia of a seated young man holding an actor's comic mask.
In
the Lateran relief, Petersen [20] sees a poet transported into an ideal
world, while Reisch attributed it to an actor. This latter
interpretation, which never seems to have been in doubt for the Berlin
relief, has the greater probability for the Roman relief as well.
Because the depiction is interpreted casually in such a way that the
actor has just used the mask he is holding in his hand or intends to
use it in the near future. The same positioning motif is already used
on vase pictures for actors, as with several actors of the Pronomos
vase [21] and on a vase in Munich [22], whose picture O. Jahn indicated
that Dionysus surrounded by his demonic companions as the founder of
the Tragedy presents the tragic mask to a mortal — poet or actor. But
the Silenus on the right is clearly identified as a masked actor by the
shape of his mouth and shoes, as is the satyr on the left with a
rounded ridge on his forehead, like the mask held by Dionysus has two.
Accordingly, the youth with the Thyrsos is certainly an actor who
probably has to play the role of the god himself and receives the mask
from his hand [23]. The way in which the god raises the mask and looks
at it (p.138), about to hand it to the youth, fully corresponds to the
positional motif of the two reliefs.
If actors are rightly recognized in those
representations, then they are to be completely separated from our
group of votive reliefs, because with these musing men, who mostly
appear bearded and of advanced age, the thought of actors is quite
remote. In addition, the masks that appear on these reliefs are not
utilitarian masks, but must have a special meaning, since they are
considerably larger than life size, with only one exception, the relief
from Pompeii [24]. It is natural to recognize images of votive offerings
in them on votive reliefs, and this also explains the depiction —
portrait of the consecrator and next to him an image of his votive
offering that he offered an image of it together with the image of
himself is well known from monuments in Athens and is easily
understandable from the intention of the donor to draw the god's
attention expressly to his person [25.
In the IV century BC, to which the examples given
below belong, such a composition of images of the (p.139) consecrator
and his gift is quite common. For some, the composition is purely
external. In the composition of the poet and the mask, an inner
relationship unforcedly arose: the picture was given content in that
the poet appeared lost in contemplation of the mask. But it would be
absurd to see in this a scene from the sphere of daily life, a
representation of daily occupation. The dedication of masks is only
documented in literature by actors and choruses [26], but is factually
also conceivable for poets, and the depiction of a man immersed in deep
contemplation not only suits a poet, but is also in later times for the
poet become typical.
The question is still open as to how the
fragment should be supplemented with an image of a mask in detail.
According to the course of the folds in the background, the missing
piece must have been at least as wide as the surviving one; that gives
a total width of 0.32 m, maybe more. Even if one assumes that the mask
and pedestal are as large as possible, there is always far too much
free space between the mask and the figure. There are two ways to solve
this difficulty. Either one could think of the dedication not of a
single poet but of two and supplement the fragment according to the
analogy of the Albanian relief shown above, an assumption which is not
advisable, since the combination of two writers is probably to be
attributed to the sarcophagus makers, or — and this is more likely —
there is a somewhat altered form of these consecrations.
Among
the examples given above (p. 135), the sarcophagus fragment from the
British Museum stands out from the rest by the significant difference
that on it the mask is held out to the poet by a muse for inspection.
This motif leads over to a Herculanian painting, Pitture d' Ercolano IV
39 (p.140) (Helbig mural 1461), in which one may also recognize a poet
in the company of the muse. Here the elements of our composition, the
musing man with his chin on his hand and the mask, return, albeit as
components of a somewhat more elaborate composition [27]. Given the
dependence on older models, which one must also assume here, one may
venture the conclusion that the invention of this scene "the poet in
his room in the company of the muse devoted to his activity" in the IV
century BC and because of the Athenian relief on Attic soil to relocate
[28]. If one imagines a muse with a mask sitting on it opposite the
poet, a supplement results which formally corresponds to the size and
the demands of symmetry and which is completely satisfactory in terms
of content. Such a relief picture, intended as a further development of
those simple dedications that give the poet alone with the mask, at the
same time in its still simple form a preliminary stage of the richly
decorated pictures of Hellenistic and later times, also fits with the
chronological approach to the end of the fourth century BC, which was
obtained above on the basis of the relief technique.
Finally,
a few monuments are listed that may come from similar dedications by
poets. Characteristic of the Athenian relief is the delicate work with
which the portrait features are expressed despite the small dimensions.
Such things do not seem common; The following pieces have become known
to me so far, which for this reason may be related to our relief.
1)
A small remnant of a relief, head and upper body of a man sitting in
the National Museum of Athens N ° 1360, described by Duhn [29], who
particularly emphasizes the "portrait features". The relief-in its
circumstances only 1/3 greater than the discussed-shows a bearded man
in three-quarter view that appears in deep thoughts. His hair is
divided into width, somewhat wavy strands, the forehead is divided by a
few wrinkles, the eyelids are cut off, the swelling of the baking nose
and a fold on the nose setting stands out significantly. The robe has
deep, in parallel down folds. The folded hands that encompass the knee
have only four fingers each, since the fingers are too big. The work
probably points to the first half of the IV century BC. I am unable to
confirm that Duhn's statement that the look was directed towards the
lowering of the eyelids. The whole position is reminiscent of a well
-known gem image [30] a dramatic poet who practices a choir.
2. Fragment in the Galleria delle Statue, which Helbig leaders 1 200 describes and (Yearbook 1886, 77) considers to be Plato.
3.
The relief of a reading man, the so -called Sophocles, which O. Jahn
images Ehr Otiiken II 4 (see p. 57 note 385) depicted. The dimensions
of this figure are somewhat smaller than that of our relief, the work
seems almost finer. Unfortunately, the newer publication of Babeion Le
Cabinet des Antiquites A la Bibliotheque Nationale is missing; I was
not able to obtain a photograph.
4.
Relief fragment owned by Prince J. Primoli, the A · Chaumeix (Melanges
d’Archeology 1899 Plate 5 p.159) published. It is only preserved and
the head and right arm of a sitting of a bearded man. Chaumeix is
rightly attributing the relief to the V century BC, because if you can
compare such a fragmentary piece,
with works of great art, between this and the Berlin Anacreon
head, and the Kekule of Straclonitz, between the Olympic and Parthenon
sculptures, appear to reveal clear stylistic matches. Both have the
main hair (p.142), which, as far as the binding holds together, is only
very flat; The full beard in individual flakes, the strong eyelids and
the still clumsy way, as the mustache stands out, return to both. The
attitude is very similar to that of the poet on the Athenian relief.
The
fact that the publisher concluded on a philosopher is not unexpecrted,
but
its reasons, which are only based on this attitude and the gear, are by
no means proof. It is quite possible that this fragment also comes from
a consecration of a Scenic poet. The fact that it is kept in more than
twice as large as the Athenian fragment can be put on the account of
the older times. You also have to recognize a poet on the next side of
a sarcophagus in the Museum in Naples, where Arndt [32] sees a
philosopher. “In front of a parapetasma, a philosopher, docolving, just
wearing the rimming, sits a knot in his hand; A role capsule next to
him; A four -foot animal in front of him. The trains are like that of
the diogen, so the animal should probably be a dog ». The work shows
the deep, broad furrows of the interior of the III century BC, similar
to the Albanian relief shown above (p.132). In the same time,
the raw combination of the curtain shows as a designation of a closed
room with the rock on which the poet sits. This is completely in line
with the position and crowd arrangement the denser mentioned in front
of the mask on the Pozzo sarcophagus - drawing, which is the last in
the row on the right [33]; Only on the relief the gesture of the two
fingers outstretched is clear. Apparently a poet can also be recognized
here, and he is characterized by the shepherd's staff and the sheep
next to him - it is certainly not a dog - as a Bukolian poet.
Athens, June 1901. Emil Krüger.
Footnotes:
(footnotes)
1
Löwy The representation of nature in older Greek art p. 21 emphasizes
this phenomenon on the Parthenon frieze: «Even if there is a slight
difference in the plan where parts to be thought of one behind the
other meet in the relief, then in the further course the Faces forward
again. . . . »
2 Beginnings of perspective foreshortening, but
in higher relief, states A. Brückner on the Eleusinian rider relief
(Athen. Mitt. 1889 Taf. 12 p. 403), which he places at the end of the
5th century BC.
(footnotes)
3 Collignon bas-reliefs grecs votifs. Monuments grecs N'-' 10. 1881 plate II p. 11.
4 Austria Jahreshefte 1899 Taf. 5 - 7 p. 255. The figure of Attis
corresponds completely to that of the Scythian - only with the right
and left being swapped around again; the adoring woman's robe is
reminiscent of one Nike on the tripod base (ibid. 0. Plate 6). The girl
is a type of the position and hand position found on Attic funerary
monuments (Conze Att. funerary reliefs N° 878 and 879). The relief
is therefore certainly Attic and under the direct influence of works from the circle of Praxiteles.
5 Hero relief from Museo Torlonia Fr.-W. 1073, published in Roschers
Lexikon I Col. 2559; Fragments of similar depiction in Athens, National
Museum N°I35i, assembled from Sybel N° 4300, 4660, 4804 and two other
pieces; see also National Museum N° 135S
6 The strap rising from
the slab, which extends beyond the upper end of the sandal, is not
infrequently found lying flat on statues, e.g. B. in the so-called
Aristotle in the Palazzo Spada (Helbig Führer2 998), in the seated
Hermes from the Herculanian villa (Comparetti La Villa Ercolanese Taf.
13,2) and - at least according to the drawing by Clarac - also in one
of the four fencers in the museum of Naples (Clarac 865, 2203; Count
Rom. Mitt. 1897, 30 plate II) ; also two bronze feet of good work among
the new finds from Antikythera have this strap.
(footnotes)
7 Robert Homerische Becher,
50. Berliner Winckelmannspr. pp. 26 D, 30 V 51 L. Winter yearbook 1898,
83 plate 5. For dating and origin see Dragendorff Bonner yearbooks 96,
29.
8 Athens, National - Museum N° 1365— Arch. Zeitung 1877, 15°
N" 26, now completed by the left end: a woman stands to the right,
leaning on a pillar with her left arm.
[footnotes)
9 Also illustrated in Arch. Zeitung 1843 plate 6.
10 Zoega, Bassirilievi übers, von Welcker I 205 II plate 24. Zoega
erroneously calls the pedestal of the mask a cißptis. It is a wooden
frame with feet shaped like lion claws. I owe the photograph and the
information about supplements, dimensions and material to Prof.
Petersen, who was also willing to support me with his advice in other
respects.
11 The part of the cloak that reaches over to the pedestal
in front of the right leg is striking; it was probably caused by the
carelessness of the stonemason, who made a change to the model—e.g. put
the back feet of both figures back while they were presented in the
model—and was not consistent performed. It is strange that the same
error recurs in the falsified relief of Demosthenes Epibomios (A.
Michaelis Jahrbuch des Inst. 1888, 237), which corresponds to this
figure in the position of the feet and the position of the right arm.
(footnotes)
12 The accompanying figure is based on a photograph that Prof. de Petra
had made, despite the difficulties involved in setting it up, for which
I owe him a special thank you.
13 I am indebted to Mr.
Perdrizet for pointing out the image of a poet with a scrinium next to
him in Virgil's Codex Romanus (Melanges d'archeol. 1884 320 N° 2),
according to which this case also seems to have been intended for
scrolls. See also Arndt single sale 530, discussed below p. 142.
footnotes)
14 This relief is one of the very flat reliefs that are considered to be
Hellenistic, such as the Naples Museum has in large numbers. The
closest comparison among these is the relief of a Silenus embedded in
the same wall, sitting on a fur-covered altar and looking at himself in
the mirror (Inventar. N1' 6697). But the poet's relief is far from the
most delicate and delicate execution like this, and like all the better
of these bas-reliefs, it stands quite alone with its unclear and
blurred drawing. This phenomenon cannot be explained solely by the fact
that the system is volatile from the outset, e.g. B. the seat board of
the chair is drawn crookedly, the fluting and the central band of the
roll cap are scratched irregularly, but it is obviously an unfinished
piece. The part between the legs of the chair already leads to this,
where only the contour is cut, but the ground is not excavated. The
incompleteness is quite clear at various points where lines are
supposed to intersect, but this intersect has not been carried out and
small connecting pieces have remained: for example at the front corner
of the upper backrest of the chair, at the squat, at the upper edge of
the roller capsule; also at the end of the coat, which hangs down in
front of the back of the chair, there is no tassel to be seen, as is
the case e.g. B.mus. Borbon. XIII, Taf. 21, but such a bridge.
Furthermore, the left foot is not set off at all against the cloak, the
face, llaar and mask are only laid out in the roughest outlines and
still require individual execution. This also explains how it is
impossible to tell whether the left hand holding the scroll is under
the cloak or exposed. Presumably, the piece had not yet left the
sculptor's workshop at the time of Pompeii's burial, of which it bears
clear traces, and the origin of the work must be dated to before 79 AD.
15 Cf. also the similar depiction Gemmen 7406 (illustrated erroneously
7407) "Silenus with a long crosier sits in front of a mask lying on an
altar"-
{footnotes)
16 A second from this
literary group turns back to a mask standing behind him, which he
grasps with his right hand. This peculiar position appears only here.
17 Ancient Marbles X Plate 34, now reproduced from a photograph by Strzygowski Orient oder Rom p. 51.
(footnotes)
18 Schrieber Hellenistic relief 'pictures plate 84, Benndorf-Schoene Lateran N° 245, Helbig guide 2 684.
19 Similar gems are Berlin gems 4520 — 4522, 7681.
(footnotes)
20. From ancient Rome [2] p. 134.
21 mon. deli Inst III 3i, Wieseler Theatergebäude Taf. Prott Schedae
in honorem Useneri S-47ff. Incidentally, it should be noted that the
poet is characterized here only by the role. The lyre behind him
belongs to the next choreographer, who is the only one missing the mask
and who would otherwise be without an attribute among all those
portrayed. This confirms Prott's assumption that Charinos is the
twelfth choreut. Apparently each half-choir appeared with a satyr
playing the lyre. Because Charinos corresponds to the seated poet
Demetrios in the arrangement of the 4 figures in the lower middle
group, the artist has depicted him in the same clothes as the latter,
but without a costume.
22 O. Jahn description of the vaset collection ?? 848, Arch. Zeitung 1855, 147 plate 83.
23 The result is a picture: Dionysos among the actors, very analogous to
the well-known relief from the Piraeus, now in Athens, Nat.-Museum
N°i5oo (Robert Athens. Mitt. 1882 Taf. 14 p. 389, Maass yearbook 1896,
104).
footnotes)
24 Due to the time of its creation before 79 AD, this relief should hardly
be used as a votive relief, but decoratively and no longer reproduces
the original type of this relief unchanged.
25 Whether among the
examples of this usage the relief of a warrior next to a tropaeum
(upper half of a small marble base, now in Acropolis Magazine N° 3173,
Schöne Griech. Reliefs N° 97) in the style of the Orpheus relief may be
cited doubtful. Safe examples are:
a. Fragment of a relief in the
Acropolis - Magazin N° 2995, from the Wiener Vorlegebl. VIII, 10,4,
Friederichs-Wolters 1196. A bearded man in front view, behind him a
tripod; choreographer or poet.
b. Relief in Athens, National Museum
N° 1490, Sybel 3983, from Arch. Zeitung 1867 plate 226, 2. A man en
face, to his right a satyr places a tripod on a pedestal.
c. The
base of the Bryaxis, Athens, National - Museum N° 1733, abb. BCH 1892
plate 3. A horseman riding towards a tripod. i.e. The votive relief to
Asklepios, the A. Koerte Athens. Mitt. 1893, 235 plate 11 published.
The healed person (hardly the doctor) brings an image of his sick leg
himself.
footnote
26. Reisch op cit. 8.144
ootnotes)
27 The painting Pitture d’ Ercolano IV 40 (Helbig 1457) also brings the
thoughtful man and a mask held by a young man. Unfortunately it is entirely destroyed.
28 That always remained a popular topic; See
sarcophagus in the Louvre Clarac II 205, 307 Text II, 1 p. 247, Matz-V.
Duhn 2610, 2616, sarcophagus from Lykien in Athens, National Museum N °
1189 Athens. Mitt. 1877 Plate 10 p.134, the Monnus mosaic in Trier
Antique Monuments I 47-49, The Virgin Mosaic in Algier Monuments Piotly
20 (Arch. Anz. 1898, 114); In addition, the sarcophagus images that
show the dead in the circle of the muses, O. Bie Die Musen p. 59.
(footnotes)
29 Arch. Zeitung 1877, 163 N ° 73.
30 Wieseler Theater Gehen XII 45, now better at Furtwängler Gemmen XXX 44
31 A philosopher in this attitude z. B. on the philosopher mosaic by Torre Annunziata Arch. Anzeiger 1898, 121.
32 single sales 530, text Series II p. 47
33 above p. 135, Robert Sarkophageliefs II 14T,
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