Illustrations to Bacchylides Author(s): A. H. Smith Reviewed work(s): Source: The Journal of Hellenic Studies, Vol. 18 (1898), pp.

267-280 Published by: The Society for the Promotion of Hellenic Studies Stable URL: http://www.jstor.org/stable/623729 . Accessed: 26/04/2012 07:18
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ILLUSTRATIONS

TO BACCHYLIDES.

[PLATE XIV.]

THE EDITORS of this Journal have reason to think that a considerable body of its readers will be glad to be furnished with reproductions of the monuments, mainly vase paintings, that are discussed in connexion with Bacchylides. Even those to whom the published illustrations are readily accessible will probably find it convenient to have them brought together for reference, in a collection made from this point of view.1 III. The story of Croesus.--In the story as told by Bacchylides, Croesus voluntarily ascends his pyre, with wife and daughters; he invokes the gods, and more especially Apollo; he orders the pyre to be kindled; Zeus extinguishes the flames, and Apollo takes Croesus and his children to the land of the Hyperboreans. According to Herodotus, Croesus with his companions is placed on the pyre by order of Cyrus. After Cyrus has changed his mind, and his servants have made ineffectual attempts to extinguish the pyre, Croesus invokes Apollo, who extinguishes the flames. Fig. 1 2 shows the well-known vase in the Louvre, representing the subject. It had already been interpreted, before the discovery of Bacchylides, as evidence of an alternative version of the story, in which the sacrifice was voluntary.3 Croesus sits enthroned, and makes a solemn libation, while an attendant Euthymos is busy with the pyre. Some of the commentators interpret the objects that he holds as torches, but they are quite unlike torches, as usually represented (cf. J.H.S. xi. P1. 6), and resemble more nearly the whisks for sprinkling lustral water. If this is the correct interpretation their use further emphasises the ceremonial character of the scene. The vase is an early red-figured one, dating from the close of the 6th century or the first years of the 5th century B.c.4
SM. Theodore Reinach's edition (Poames Choisis de Bacchylide...par Eugene D'Eichthal et T. R.), which has appeared since this article was put in hand, has to some extent covered the same ground, for those parts of the poet with which he deals. The same monuments appear, in several cases, in both collections, but this is inevitable in connexion with the less-frequent myths,
2 AMonmnmenti dell' Inst. i., P1. 54; Welcker, Alte Denkmaeler, P1. 33; Baumeister, Denkmaeler, p. 796 ; Reinach, p. 25, etc. a E. Curtius, Griech. Gesch., 6th ed., i., p. 574. 4 Cf. notes by H. Stuart Jones and Miss Harrison, Class. Rev. 1898, pp. 84, 85; Jebb, MIdlanges Henri Weil, p. 237,

268

A. H. SMITH.

The extinction of a pyre by the influence of Zeus is strikingly illustrated by the vase of Python,' in Vol. XI. P1. 6 of the Hellenic Journal. There Alcmene is seated on an altar, before which the pyre is piled,2 and Antenor and Amphitryon apply the torches. Zeus listens to the appeal of Alcmene,

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and has cast his thunder-bolts. Copious rain is poured on the pyre by the Hyades, and also falls from a rainbow-like cloud.
1 A red-figured crater in Brit. Mus., No. F. 149. Formerly at Castle Howard. Late fourth

century B.C. 2 4 Murray, JI.H,

xi., p. 226.

ILLUSTRATIONS TO BACCHIYLIDES.

269

The poet does not say in what way the god conveyed Croesus and his family to the country of the Hyperboreans, but one may guess that on this occasion, if the poet had been more explicit, he would have given him the swan rather than the Gryphon or the Tripod. The Gryphon was primarily an artistic type, inherited by the Greeks from the East, and thence introduced into literature, and not in the first instance, with special reference to Apollo. In literature, it curiously happens that the earliest passages that have been pointed out, which definitely refer to the Gryphon as an attribute of Apollo, are in Claudian 1 and Sidonius Apollinaris.2 In art, the association of the Gryphon with Apollo is not common before the 4th century. Apollo also travels on his Tripod, but not on a Hyperborean expedition. On the other hand, Alcaeus3 had sung how Apollo had travelled in a chariot, drawn by swans, from Delos to the Hyperboreans, and from the Hyperboreans to Delphi. When Pindar describes how Apollo carried off Cyrene to Africa, he says that he bore her in a golden chariot.4 A late gem, at St. Petersburg,5 shows the rape. Apollo stands in a chariot, drawn by a pair of swans, and clasps Cyrene by the waist with his right hand. V. Heracles and Meleager.-This episode has already been the subject of much discussion.6 I need only indicate the artistic types involved. Heracles and Cerberus. For this type, see the drawing published elsewhere ' in the present volume of the Hellenic Journal from a late sixthcentury black-figured vase, recently acquired by the British Museum.8 No monument has been identified with the conversation between Heracles and Meleager. The Death of Meleager is vividly represented on a large Amphora from Armento, in the National Museum at Naples,9 of about 400 B.c. (Fig. 2). The young Meleager is seen in agony, supported by his brother and sister, Tydeus and Deianeira, while a third figure, who has been variously named, but is probably Althaea, approaches in haste from the left. Oineus stands as a spectator. Above him is another group of Aphrodite and Eros. Near Eros, where his name might be expected, is the inscription ?b6voo. It would be out of harmony with the usual direct simplicity of vase inscriptions, if we look for any conceit, such as that Love and Envy are near akin. It has been suggested
1 De VI. Cons. Honor. 30.
2

Carm. ii. 307; xxii. 67.

See Stephani,

Compte Rendu, 1864, p. 57.

" Bergk, PoetaeLyr. Gr., 4th ed. iii., Alcaeus.

2-4. 4 Pindar, Pyth. ix. 6. 5 Overbeck, Griech. Kunstmythologie iv.,

p. 495. 6 Robert, Hermes xxxiii., p. 151; Croiset, MdlangesHenri Weil, p. 73; Reinach, p. 4.
7 J.H.S. xviii., p. 295. 8 For black-figured vases, see Gerhard,

AWserlesene Vasenbilder, Pls. 129-131. For red-figured vases, see Wiener Vorlegebldtter, Series E, Pls. 1-4. For a list of forty-nine of the subject, see Walters, representations J.H.S. xviii., p. 296. 9 Arch. Zeit. 1867, Pls. 220, 221; pp. 33, 97. des Mus. Heydemann, Vasensammlungen Nazionale zu Neapel, Santangelo, No. 11 (where see references to earlier literature).

Roscher, Lexikon, ii.,

Bacchylide, p. 5.

p. 2620;

Reinach,

270

A. H. SMITH.

as a possible explanation that the inscription refers to a personification that has been omitted in the transcript from a larger composition. Peleus and Theseus sit below in the attitude of mourners. They are probably introduced as two of the most noted of the companions of Meleager in the Boar hunt. The reverse of the vase has a scene in the lower world with Heracles leading Cerberus-but unfortunately without Meleager.
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IX. Death of Archemoros.-This subject occurs on several monuments,' but in no case in such a way as to contribute to the interpretation of line 13. The serpent is attacked by several of the heroes, while the child lies near, or encircled by it, but there does not appear to be any representation of the moment before the death of the child.
1 Overbeck, Gallerie Heroischer Bildwerke, Pls. 3, 4 ; White AtheniacnVases in Brit. Mus. P1. 18.

ILLUSTRATIONS TO BACCHYLIDES.

271

The funeral rites are shown on a large vase now in the National Museum at Naples, and frequently published.' In the foreground, the body of Archemoros is laid out on a couch, tended by several persons, of whom the Pedagogue alone is named. Above, within a tetrastyle Ionic building, is Eurydice in conversation with Hypsipyle and Amphiaraos. To the right are Parthenopaios and Capaneus, to the left Euneos, and probably Thoas, the sons of Hypsipyle. In the upper tier are Zeus and Nemea (on the right) Dionysos and a Satyr, restored, (on the left.)

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Thebe(ix. 54 and x. 30) is seen personified on the Cadmos vase of the late Italian painter Assteas 2 (Fig. 3). She is shown as a female figure seated above the spring which is guarded by the dragon. It is probable that she also occurs on a kindred vase now in the Louvre3 as a richly dressed maiden, who watches Cadmos making his onslaught on the dragon. XI. The healing of the daughters of Proetos.-This legend has hitherto been known in two principal forms:(1) Melampus, with the aid of a band of vigorous young men, chased the Proetidae to Sikyon. Iphinoe, the eldest of the daughters, died on the road, and the others were cured.4 (2) Melampus cured the Proetidae at Lusus or Lusi.6 Bacchylides places the cure at Lusus, but altogether omits to mention
1 Heydemann, No. 3255; Overbeck, 1.c. P1. 4, Fig. 3. 2 Millingen, Ancient Unedited Monuments, P1. 27. Millin-Dubois Maisonneuve ii., PI. 7:

S. Reinach, Peintures de Vases antiques, recucillies par Millin, etc., ii. 7. Apollodorus, Bibl. ii. 29; cf. Paus. ii. 7, 8. " Paus. viii. 18, 7.

272

A. H. SMITH.

the agency of Melampus. The bringing of Melampus to Lusi seems to be due to a confusion of two stories, but that it was current in late times is shown e.g. by the epigram over the fountain near Lusiov 7TJr)# ,Iheo-6/hwE~CT~ rpeZif 6E ' E/AL)Z' &9
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The subject is believed to be represented on a fourth-century vase in the National Museum at Naples 2 (Fig. 4). Three maidens are grouped in humble positions round and near a xoanon before which is an altar, and a tripod on an Ionic column. The xoanon is probably that of Artemis.3 On the left are an elderly figure with a sceptre, and a rustic old man, who has been called Silenus, with a thyrsus. On the right is Dionysos. On the version of the legend which brings Melampus to Lusus, the bearded man has been so named. One of the three maidens, the wild figure behind the column, has been called Lussa or Madness by Wieseler,4 on the ground that Iphinoe is already dead. If, however, we study the vase in connexion with the text of Bacchylides, the bearded man would be Proetos, who comes to Lusus, and makes a prayer to Artemis on behalf of his daughters. The presence of Dionysos as a spectator may be due to the fact that according to Hesiod (so at least we are told by Apollodorus 5) the madness of the daughters was due to their not accepting the mysteries of Dionysos. It may be supposed that there was already a cult of Artemis at Lusus, when Proetos made his prayer there, but in any case it is a. very easy prolepsis for the artist to show us the altar, xoanon, tripod and votive tablets indicating the temenos which was established by Proetos in gratitude for the cure. A cameo,6formerly in the possession of M. de Witte, was thought by its owner to represent the same scene. In this instance the supposed Melampus holds up a young pig, which was specially employed for rites of purification in the case of persons recovering from insanity. If, however, it is correctly interpreted the cameo evidently represents a different version from that of Bacchylides. XIII. Heracles and the Nemean Lion.-The invulnerability of the Lion, upon which the poet lays stress, was not a fixed point in the story as told by the early vase painters.
1 Vitr. viii. 3, 21.
2 Millingen, Vases Antiques, P1. 52, and S. xoanon of Hera.'
4 In Miiller's Denkmaeler, I.c. Compare the introduction of Lussa by Euripides in the Hercules Furens and of Mania in the vase of Assteas, Mon. dell' Inst. viii. 10. SBibl. ii. 26. 6 De Witte, Gaz. Arch. v., P1. 19, Fig. 1; cf. De Witte, ibidem.

Reinach, op. cit. Millingen 52; Heydemann, No. 1760; Mifiller-Wieseler, Denkmaeler i., P1. 2, No. 11 ; De Witte, Gaz. Arch. v., p. 126 ; Frazer, Pausanias iv., p. 259. s It has also been thought to be an image of Hera. According to Acusilaos, the Proetidae had gone mad because they 'disparaged a

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274

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The scheme of the strangling occurs in the majority of the black-figured vases 1 and in the more occasional red-figured representations of the scene. But the sword also occurs, c.g. on the black-figured amphora in the British Museum, No. B 160 (Fig. 5), and elsewhere." In literature, the invulnerability of the brute is suggested by Pindar (Isthm. v. 47) and explained by Bacchylides and Theocritos (xxv. 274). This, however, may fairly be regarded as a case in which the current artistic type gives the lead to the poets. The wrestling scheme was predominant, and was accounted for by the tale of invulnerability.

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XVI. The last sacrifice of Heracles.-A scene of preparation for the sacrifice on Mount Kenaion by Heracles, in the presence of Lichas and Hyllos (?), is represented on certain fragments at St. Petersburg,3 derived from a sort of Monte Testaccio, near Kertch (Fig. 6). Heracles appears to have put on the robe (we know from Sophocles that he had time to sacrifice
1 Cf. the collected list of types, Walters, B. Al. Catalogueof Vases, ii., p. 13. 2 Cf. the vases quoted by Reisch, Athen. Mitt. 1887, p. 123. In the group dedicated by Hippotion of
Tarentum at Olympia, Heracles used the bow Paus. v. 25, 7. SStephani, Compte Rendu, 1869, PI. 4, Fig. 1 and (more complete) ib. 1876, P1. 5, Fig. 1.

ILLUSTRATIONS TO BACCHYLIDES.

275

the first twelve of his hecatomb before the poison began to work) and holds out with both hands the fillet for the adornment of one of the victims. Bacchylides introduces a new incident in his account of the events on Mount Kenaion, when he includes victims sacrificed in honour of Athene and Poseidon. This raises once more the question of the interpretation of certain Heracles assisted by two youths fragments already published in this Journad.1

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Li[chas] and Philoctetes (?) is sacrificing at a stone altar, before a draped xoanon, while Athene herself stands and watches the ceremony.
1 C. Smith, J.H.S. ix. P1. 1, p. 1; again in Cat. of Vasesin the British Museum, iii., P1. 16, No. E 494. In the later publication the fragment at the right of J.H.S., P1. 1 is shown as part of the Heracles; the Athene is disconnected from the other fragments; AI (part of Lichas ?) is preserved above the youth.

T2

276

A. H. SMITH.

The subject has been called, by several interpreters, Heracles sacrificing at the altar of Chryse, and by Mr. C. Smith, writing before the discovery of the Ahi,a sacrifice on the Acropolis. The presence of Lichas strongly suggests the sacrifice on Mount Kenaion, while Philoctetes might be introduced in place of Hyllos, through some confusion between the sacrifice on Mount Kenaion, and the subsequent self-immolation on Mount Oeta.' That Bacchylides should include a sacrifice to Athene, removes a part of the difficulty of finding her so conspicuous, where Zeus was the deity to be honoured. The presence, however, of Philoctetes at the sacrifice, shows that the fragments cannot be made to agree plainly with any known form of the story in literature. XVII. Theseus and the Ring.-The story of the descent of Theseus in pursuit of the ring and the wreath, has been closely analysed by Prof. Robert, in successive papers. He has pointed out that the story consists of two elements, namely the giving of the wreath by Amphitrite and the story of the ring. Both incidents are mentioned by late authorities, by Hyginus and by Pausanias describing the picture of Mikon in the Theseion, but we do not know that both were represented by Mikon, since Pausanias expressly states that Mikon did not tell the whole story, though he does not say what part was omitted. Judging from the vases first known (nos. 1-3 below), the incident of the ring seemed to be comparatively recent, and its invention was formerly attributed by Prof. Robert to Euripides. The Tricase vase (no. 4), if it in fact contains a representation of the ring, points to an older source than Euripides for the ring incident, and this is now proved by Bacchylides.2 The fact, however, that Bacchylides has nothing to say about the recovery of the ring seems to show a want of homogeneity in the story. Also, it seems to indicate that it is not he who devised the incident. A poet who conceived the story would probably make it complete, and would hardly omit the conclusion of the finding of the ring on the ground that beside the present of Amphitrite it became quite insignificant.s The illustrations that follow are taken from the four red-figured vases at present known, which deal witll this subject. In two, the principal action is between Theseus and Amphitrite, and in the other two it is between Theseus and Poseidon. (1) Cup of Euphronios," in the Louvre-a velry fine red-figured vase found at Caere, of about 500 B.c. (Plate XIV.). Theseus, who is supported under his feet by a Triton, greets Amphitrite,
See the observationsby Mr. Murray, preiixed to E. 494, in the CaJt. of Vases, iii. " Robert, 1889, p. 141: Anzeiger, Arc'h. Marathonschlachtin der Poikile, p. 50 ; Hermes, xxxiii., p. 132. Cf. Jebb, MlkngesHenri Weil, p. 235, Miss Harrison, Class. Review, 1898, p. 85. Robert, HermZes, I.c. p. 140.,

4 We owe the new illustration of the vase to the kindness of Mr. A. van Branteghemn. See also Mon. Grees.de l'Ass. d''tudes Gres, 1872, P1. 1; Klein, Euphronios, p. 182; Reinach, P1. 4, etc. The new drawing by M. D~villard gains greatly in force and effect as compared with the older, but excellent, engraving, by having the internal blacks rendered as solid.

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278

A. H. SMITH.

in the presence of Athene. Three swimming dolphins mark the sea. The wreath is not shown. (2) Crater, in the Museo Civico at Bologna 1-a fifth century red-figured vase (Fig. 7). In this vase, Theseus, supported by a Triton, clasps in suppliant manner the knees of Amphitrite, who holds out the wreath in both hands. Below, Poseidon reclines on a couch, like one who is in his own house-on the right an Eros is pouring out wine for him-and watches the scene. On the left we see the stern of the ship of Theseus, and Helios rising from the waves. Here also the ring seems to have no part in the story. (3) Vase from Girgenti,2 now in the BibliothBque Nationale at Parisan early fifth century red-figured crater (Fig. 8).

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Poseidon, enthroned, clasps the hand of the young Theseus who stands before him. Poseidon is identified not only by his trident, but also by the decorative row of dolphins on his foot-stool. Behind Poseidon stands a
1 Ghirardini,

Museo Italiano

di Ant.

Class.

iii., p. 1, P1. I.; Furtwaenglerand Robert, Arch. Anzeiger, 1889, p. 141; Reinach, p. 66; Robert, Nekyia des Polygnot, p. 41; Hermcs xxxiii., p. 135.

2 Mlor.dell'Inst. i., Pls. 52, 53; De Luynes, Descr. de quelques Vases peints, Pls. 21, 22; Welcker, Alte Denlkmaeler, P1. 25, Reinach, p. 64 (reverse ibid. p. 61).

ILLUSTRATIONS TO BACCIHYLIDES.

279

Nereid, or perhaps Amphitrite, holding up the wreath. Here also there is no indication of the ring, though the main action is with Poseidon. On the reverse of the vase, a seated figure, probably a Nereid, seems to be twisting the wreath. She sits between a figure with oinochoe and patera, ready to pour a libation, and a figure with hand extended as if she is speaking. (4) Vase of the middle of the fifth century, tound at Ruvo, and now ill the possession of the Princess di Tricase 1 (Fig. 9). Theseus and Poseidon clasp hands. The other figures are Nereus, a figure prepared to pour a libation as in the last example, and a figure with the wreath.

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In his left hand Theseus holds what has been described as a box or shell, and assuming that the draughtsman has correctly understood his vase, this may be, as Petersen suggests, a receptacle for the ring. It looks, however, in the drawing as if it might be a fold of drapery brought over the girdle, and it would be strange if the ingenuity of the vase painter could not approach nearer to a representation of the ring, than a case to hold it. It is noticeable that in the ~figure on the right the hand and drapery have evidently been wrongly drawn. In any case, however, this is the only attempt that the vase painters make to represent the ring incident.
Mittheilungen ix., P1. 8 ; 1 Petersen, RIZoemische Reinach, p. 79. The red-figured vase in the Brit. Mus. E 264 (Wiener Vorlegebl. 1890-91, P1. 3), interpreted aLsTheseus recognised by his parents, is in many respects parallel to the Tricase vase.

280

ILLUSTRIATIONS TO BACCHIYLIDES. A scene from the Frangois vase is also quoted Mr. by Kenyon, at the instance of Mr. van Branteghem, as having reference to the incident (Fig. 10). In this we have the ship of Theseus close to the shore to which it is drawn up, stern first. One nude figure swims ashore, while the occupants of the ship express emotion and surprise in various ways. Theseus, as a citharist, leads in set array the seven youths and seven maids, who walk alternately, hand in hand, led by Epiboia or Eriboia. It is at first sight an attractive suggestion that the swimming figure is Theseus, but the objections adduced by Prof. Robert seem conclusive. The action takes place close to the shore, while Bacchylides, Pausanias and the Bologna vase represent the action as taking place at sea. Also the whole band probably represents a single incident, and the festal procession is most appropriate to the subsequent landing at Delos. XIII. ThIesems.-The Theseus cycle is already well represented in this Jomtrnalby several vases, to which it is only necessary to give a reference. (1) Kylix in the British Museum, No. E. 842 (J.HI.S. ii. pl. 10, p. 57, for the interior. The same scenes are repeated on the outside of the vase.). (2) Kylix, formerly in the collection of Mr. Tricoupi (J.-H.S. x. p]. 1, p. 231.). (3) Fragment of a kylix from the De Luynes collection in thie Bibliothbque Nationale (J.H.S. x. p1. 2, p. 234.) (4) Kylix at Vienna, with Theseus and Skiron (J.H.S. ix. p. 272.). For further lists of Theseus vases, see Milani, in ifuseo Italiano di Classica, iii. p. 209, Antichit, 2-4. pls. A. H. SMITH.
From Mon. dcll' I1st. iv., P'1. 56, sulppllemented with notes supplied by Mr. Cecil Tort. Reproduced by Rcinach, p. 45.

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