STUDIA IN HONOREM ALEXANDRI FOLACADEMIA LITTERARUM BULGARICA INSTITUTUM THRACOLOGICUM STUDIA IN HONOREM ALEXANDRI FOL THRACTA, 11 SERDICAE.. 1995 Kostadin Rabadjiev HERAKLES PSYCHOPOMPOS (?) IN THRACE (An Attempt at Superinterpretation) 1. The presence of individuals of Thracian origin making votive offerings among the participants in the cult of Herakles (Hercules), registered in the inscriptions on votive and cult monuments, outlines the so-called “official tendency”, whereby participation should be considered as a characteristic feature of Hellenization (Romanization) through the administrative or military career of the dedicators, or due to the requirements of their social status.! Another process underwent a parallel development: adaptation of the cult to the local religious notions (or perhaps vice versa?). That process was barely perceptible because it took place outside the large urban centres. These were not the votive reliefs dedicated to Herakles in the sanctuaries of the Thracian God-Horseman, nor the simultaneous appearance of the images of the two deities together, perceived rather as a tendency towards a “double insurance” before one’s own and the foreign deity Above all, these are several monuments from the territory of Hadrianopolis, on which Herakles is depicted in a scene from his last Labour: the taking out of the three-headed Cerberus from the netherworld and his triumph over death. 1.1. Marble stele with the image of Herakles in relief from the village of Nadezhden near Harmanli (National Archaeological Museum - Sofia, Inv. No 6326). Height 1.9 m, The lower part is coarsely rendered and was probably meant to be driven into the ground, A rectangular field in relief in the upper part contains ' The problem of the cult of Herakles and the environment in which it functioned in Roman Thrace is discussed in Chapter Three of my dissertation: Herakles (Hercules) in Thrace - 4th Century BC - 4th century AD. Sofia, 1992. ? Kazarow, G. Neue Denkmiler zur Religionsgeschichte Thrakiens. - AA, 44, 1929, 324, fig. 33; apon, F. AnTiuan nameruuun u3 Bearapws. - BAM, 6, 1930-1931, c. 121, o6p. 116; ihailov, G. Inscriptiones graecae in Bulgaria repertae. T. 3, fase. 2. Sofia, 1964, No 1806. 419Kostadin Rabadjiev the image of Herakles: standing, naked, en face. His right hand is bent upwards and he is holding a club menacingly in it, the left arm is lowered, slightly bent and with it Herakles is pulling the chain of the three-headed Cerberus. The lion’s skin is thrown over his head and covers his back, being stretched symmetrically behind his body, the lion’s front paws being tied in front of Herakles’ chest. In the lower left comer a dog walking to the left is depicted in low relief, but its head is tamed towards Herakles. Some of the details are rendered graphically, the drawing is elaborate but rather standardized. It is dated most probably to the first half of the 3rd century. A votive inscription in Greek has been preserved: on the left of Herakles: ‘Ayadat t6yn. below the relief Avkourogig Movkatoaheos Kai oi é- deol avtod Kal MovKaxogig Aviov- Ceveog Kai ddeApot kal Tagoug Kaaetroo(eos). 1.2. Marble relief from the village of Kobilino near Ivaylovgrad (Archaeological Museum in Plovdiv, Inv. No 4072).3 Height 2.12 m. The lower part of the stele is roughly rendered and is probably fit for being attached. The field decorated in relief is divided into two parts and in the upper field Herakles is depicted standing, naked, en face. He is holding (or wielding menacingly) a club in his outstretched and bent right hand, while his left hand, bent and resting on his hip, is holding the chain of the three-headed Cerberus. In the lower right-hand comer there is a dog walking to the right, but its head is tumed towards Herakles. The relief is low, the drawing is detailed, but rather schematic. With the exception of the figure of Herakles, all the other figures are rendered in a rather generalized manner. Probably dated to the first half or the middle of the 3rd century. A votive inscription is seen between the two fields in relief: ‘Ayads ton Kvpin HeakAj Kéguog Betdnoug evéaptevos txéo te EautOd Kal Lowy TEKvov evzagioTiigtoy avéednKev. 1.3. Fragment of a marble relief from the village of Belopolyane near Ivaylovgrad (Archaeological Museum - Vama, Inv. No 1461).4 Height - 0.56 m The lower half of the relief has been presetved, roughly treated in its lower part and probably meant to be dug into the ground. Only the legs of Herakles below the knees and a part of his club have been preserved from the field in relief. The deity was depicted standing, en face, resting on his club with his right hand. The lower left-hand comer contains the image of a dog tumed towards Herakles, its head raised high, in the right-hand comer there is the body of an animal squatting in the direction of Herakles and with front paws outstretched towards Herakles, interpreted by G.Kazarow (with reservations) as a lion. It seems more likely, however, that the animal was the three-headed Cerberus, as is suggested by the 3 Borymaposa, JI. Pened wa Xepaxbn or c. KoGummno. - [TIAHM, 3, 1959, c. 135, o6p. 1; Mihailoy, G. Op. cit., No 1833. * Seure, G. Archéologie Thrace. Documents inédits ou peu conus. - R4, 1911, 2, p. 440, No § ‘Kanapos, [. Amnnan uanermum is Butrapan’= MAM, 11, 1937, ¢ 263; oGp. 228 Mihailov, G. Op. cit., No 1829. 420HERAKLES PSYCHOPOMPOS (?) IN THRACE, monuments cited earlier. An additional argument can be seen in monuments of Roman art, on which the three-headed Cerberus is depicted with one lion’s head,> Below the relief there is a preserved votive inscription: [K]uoio. “Hoaxagu [A}rodA65«Q05 PhoKouxo- £0¢ Baoayvonvog txeg Te av- [rod] Kai tov Ldiov evzagioTHor- ov] avédnKa. 1.4, Marble relief from the village of Oreshets near Harmanli.$ Height 1.03 m. The image in relief appears in the upper half of the stele, while the lower part is rough and probably intended to be dug into the grond. Herakles and Artemis are depicted: Herakles on the left - standing, naked, en face, the head is strictly frontal, his right hand is resting on a club placed on a bull’s head, the lion’s skin is thrown over his left shoulder and arm, while his hand is holding a cup (kantharos?). A dog running to the right is depicted at the feet of Artemis. The volumes are plastically rendered, the drawing is detailed, but the execution is standardized, which is also emphasized by the shortened proportions and the rigid posture of the two figures. Even in his striving to stress the might of Herakles’ figure, the sculptor has rendered with anatomical imprecisions the muscles of the diaphragm. The first half of the 3rd century. 2.1, The monuments were made in different local workshops, which is suggested by the differences in the iconographic pattems and style. All four reliefs are from the territory of Hadrianopolis in the Eastern Rhodope region, a rural area, with the predominance of villa-type land ownership.” One of the dedicators (on the relief from Belopolyane) - ‘AmohAdd«@g0¢ PnoKxourogeos - has also mentioned Boowyuga as a family native place; although he has a Greek theophorous name, his father’s name is Thracian and royal,® having been probably a representative of the aristocratic landowners. The dedicators on the relief from Nadezhden are also of Thracian origin: Auloupori, son of Movkatoadtc, with his brothers; Movxamogic, son of Avovgewc, with his brothers; and Tagoas, son of Kaoetrogic” The origin of the dedicator on the relief from Kobilino was also Thracian: Kéguoc, son of Betdnc, whose Greek name occurs as a cognomen, ? while his father’s name is Thracian.!! 5 Smallwood, V. Herakles and Kerberos (Labour XI). - In: LIMC, 5, 1990, Nos 2640, 2642, 2656, 2666. § Jlo6pycku, B. Marepwanu n0 apxeonorus wa Bonrapus. - COHVHK, 16-17, 1, 1900, c. 33; Kalinka, E. Antike Denkmiler in Bulgarien. Wien, 1906, p. 176, No 198, fig. 58. TTepon, B. 3emeBaagenuemo 8 Pumcka Tpakust u Musus (I-III Bek). - PCY.OKHO, 72, 1977, No 2,¢. 118 s 8 Detschew, D. Die thrakischen Sprachreste. Schriften der Balkankomission. Linguistiche Abteilung, XIV. Wien, 19762, p. 393 sq. *Thidem, AvAounots, p. 37 £; Movxatgadc, p. 317 £3 Movkarogts, p. 314 £3 Avkouten, p. 35 ff; Tagous, p. 492 f1.; Kaoeuxogns, p. 233 ff. '° Borymapora, JI. Op. cit., p. 135 sq. 1 Detschew, D: Op. cit., p. 66 421Kostadin Rabadjiev 2.2. In two of the monuments (from Kobilino and Belopolyane) Herakles is addressed as a supreme deity-master, ic. KYPIOX, a popular divine epithet in the religious practice in Roman Thrace, which gave grounds to assume a Thracian interpretation of its use.!? A limestone altar with the image of Herakles in relief in the conventional posture of a god standing next to an altar and receiving the adorations of the dedicators is known from the village of Oreshets.!3 The practice in the region of offering sacrifices to Herakles is also evidenced by the second field with decoration in relief on the stele from Kobilino: a bull and a boar are approaching a priest standing in front of an altar. L.Botousharova associates the scene with the Thracian religious practice, according to which the animals offered themselves voluntarily as a sacrifice to the altar of Rhesos (according to evidence in Philostratos).'4 Probably an ancient cult practice was meant, which - according to some authors - stemmed from totemistic thinking, ie. from the belief that without the voluntary sacrifice of the totem animal the human community would not have received its blessing.'* My doubts that similar ideas were reflected in the relief from Kobilino stems from the fact that a long spear had been thrust in the animal’s neck. This presupposes that the scene was simplified, rather than its interpretation as an act of readiness for sacrifice on the part of the depicted animals. 3.1. The scene of Herakles’ last Labour, appearing on the reliefs from Nadezhden and Kobilino, lacks dynamism and is considerably simplified compared with the iconographic pattems ¢stablished in Roman art.!° Herakles is depicted standing and en face, as we also discover him on a coin from Hadrianopolis under Gordian IlI,!7 ic. the period to which the reliefs have been dated. The schematization of the scene is even more apparent in the relief from Belopolyane, featuring the popular iconographic pattern of Herakles standing with his right hand resting on a club, which can also be seen on a coin from Hadrianopolis from the time of Emperor Geta.'’ According to some of the ancient mythographers (Apollod. Il, 5, 12), the descent of Herakles to the netherworld and the leading out Taceva-Hitova, M. Uber die Gotterepitheta in den griechischen inschriften aus Moesia Inferior und Thracia. - BHR, 6, 1978, No 3, p. 61; Tayesa-Xwrona, M, Anmusnoie kyabinit goaunti Bepxneii u cpegueti Cmpymts. - In: Spartacus. Sofia, 1981, 105-118. 13 Anagxop, JI. Apxeosozuyecku Becmu, - BHM XackoBo, 1, 1965, c. 343, o6p. 2. ' Borymapona, JI. Op. cit., p. 136. '5 Burkert, W. Greek Religion. Archaic and Classical. 1985, p. 56; a similar idea is argumented also by G. Zhekova in the analysis of the same monument from the village of Kobilino - 2Kexona, I. Kyamom na Xepakta 8 Guazapckume sem. - ThA, 8, 1982, c. 88. 16 ‘The dynamism of the scene is emphasized by the tension in the figure of Herakles who is pulling a three-headed dog behind him: his body is in 3/4 face, walking to the left or to the right, one leg being stretched backwards, en face, while the other leg is bent at the knee and is in profile, in one hand he is holding a club or has rested a club on his shoulder, pulling the dog after him with the other arm, slightly bent (Smallwood, V. Op. cit., p. 94 - type 13). In the Thracian ands the scene is known from the small bronze vessel found in a burial in Augusta Traiana among scenes of Herakles’ Twelve Labours (Huxoutos, J{- BpowsoBa Basa c nogBusume 1a Xepaka. - BekoBe, 1986, No 5, 47-51); in the relief decoration of a marble block from the mausoleum of Augusta Traiana (the photograph has been published by IOpyxona, I Mouemoceuenemo nia epagoBeme 6 Joana Musus u Tpakus. I-III Bek. Xagpuanonoa. 1987, c. 53, o6p. 10-3) and in the embossed decoration of a ceramic vase from a burial in the village of Stamovo near Stara Zagora (Haitxenosa, B. Kaya om c. Cmamo6o, ‘Cmaposazopeko. - MBM, 1, 1969, 79-85, o6p. 1-4). 17 }OpyKona, HM. Op. cit., No 640. *® Tbidem, No 421 422HERAKLES PSYCHOPOMPOS (?) IN THRACE of the infernal dog from there (a victory over the forces of Death), marked the last Labour of Herakles which guaranteed him immortality. Therefore, according to the Kynikoi that heroic deed was closely connected with the apotheosis of Herakles, the crown of his difficult life on earth, being also directly linked to the idea about the patronage of Herakles in the posthumous heroization, as a popular aspect of Roman burial practices.! This is also evidenced by the scenes of that Labour of Herakles on sepulchral constructions dated to the Roman period, separately from the presentation of the cycle of his Twelve Labours.?° 3.2. A particularly important and interesting thing about the monuments from Nadezhden, Kobilino and Belopolyane is the dog depicted in the bottom left comer of the relief field, which has tumed its head in the direction of Herakles. Outside Thrace the dog is not among the companions of Herakles, nor is it a victim of any of his Labours. 3.2.1. I know an Italic relief (currently kept in the Louvre), dedicated to Hercules, Diana and Sylvanus in their aspect of patron-deitics of the rural population, where all three deities are accompanied by dogs.?! If this is the idea of the relief from Oreshets as well, dedicated to Herakles and Artemis,? then why is 19 The faith in Herakles as a guarantor of immortality and his patronage during the posthumous heroization acquired exceptional popularity in Rome. Being influenced by the philosophy of the Kynikoi and of the Stoics, as well as by the teaching of Euhemerus about the mortal origin of the immortal deities, the idea was also materialized in the so-called burial colleges with Hercules as a patron (Jaczynowska, M. Le culte de I'Hercule Romain au temps du Haut- Empire. - ANRIV, Bd. 2, 17.2, 1981, 641-650). The life of Herculese was presented as a model to be imitated, proclaimed by the Kynikoi as service for the well-being of the common people and the trials as moral victories tracing the road to immortality (Illraepman, E. M. Coyuaasnvie oci08n1 peaueuu JIpeBuezo Puma. Mock6a, 1987, c. 225). This is where the two notions about the heroization professed in the cult of Hercules are divided: while for the simple citizens of the Empire that was the simple faith in the posthumous heroization and was associated with the victory of Hercules over the chthonic forces (the leading out of Cerberus from the nether world), the Roman aristocracy linked its deification after death with the demise of Hercules on the funerary pyre (Jaczynowska, M. Op. cit., p. 659), which in the words of Seneca freed him from the bondage of the mortal flesh and the immortal part of his father Jupiter rose to the gods (Sen. Herc. Oet., 1966 ff.) 2 In addition to the three already cited monuments from Thrace, featuring a scene from the myth: the small bronze vessel from Augusta Traiana and the ceramic jug from the village of Stamovo, oth of them discovered in a burial, as well as the marble block from the decoration of a mausoleum, again in Augusta Traiana (indicated in note 16), I would mention also a sepulchral monument from Murfatlar (Covacef, Z. Contributii privind cultul Iui Hercule in Scythia Minor. - Pontica, 8, 1975, p. 422 £,, fig. 22), as well as from Tembristal in Turkey (Pfubl, E., H. Mobius. Die ostgriechischen Grabreliefs: I (1977) and II (1979). Mainz. an Rhein, No 605,), as well as on Roman Sarcophagoi: from Athens (Smallwood, V. Op. cit., No 2640), from Rome (Ibidem, No 2649), in a scene with the abduction of Persephone on a sarcophagus from Rome again (Ibidem, No 2672), in a scene with the introduction of the deceased to the chthonic kingdom (Ibidem, No 2673), as well as a mural painting from a grave in Rome: Hermes Psychopompos, Hercules with Cerberus and Alcestis whom he saved (Ibidem, No 2643), 2! Peter, R. Hercules. - Lex. Myth., 1-2, 1884, 2953-2958; Reinach, S. Répertoire de la statuaire grecque et romaine. Paris, 1906, 59-63 % This is an opinion expressed by L. Botousharova (Borymapona, JI. Op. cit., p. 138), I do not accept the theory that the monuments on which Herakles is depicted together with a dog reflected the beliefs of animal-breeders among the local population, who confused their religious notions about the God-Horseman with the Roman ideas about Sylvanus and Hercules. 423Kostadin Rabadjiev there a dog only at the feet of the goddess whose companion that dog is? The answer to a part of the question can be found in two votive reliefs. One of these reliefs is of unknown origin, but the Thracian descent of its dedicator is known: a young man wearing a tunic is depicted en face, his right hand is resting on a club, while his left hand is holding a long shepherd’s crook (?) and there is a dog behind him.3 The other relief is from the village of Batak near Pavlikeni, depicting the same figure with the club and the shepherd’s crook, but without a dog (the author has interpreted it as Herakles).?4 That was probably a votive offering to Sylvanus whose cult in Italy was very close to that of Herakles,?5 but the concrete case was more likely a syncretism of the two cults, which probably took place in Thrace. The reason for this is the closeness between aspects of the two cults in Italy, on the one hand, and the insufficient knowledge in Thrace of their specificity, on the other. 3.2.2. The scene on the monuments from Nadezhden, Kobilino and Belopolyane is different. There the dog is included as a helper of Herakles in his supreme trial, being invariably a companion of the Thracian God-Horseman on the reliefs dated to the Roman period, as well as on works of Roman toreutics from pre-Roman times (the silver belt from the village of Lovets).?° 3.2.3. It is also important that for a vast area of the Eastern Mediterranean region, during Roman times as well, the dog was the customary companion of the deceased person in scenes depicted on funerary steles,?” which completed the significance of the last Labour of Herakles, also popular on steles and tombs from the Roman period, because the depicting of the heroized deceased individual with a dog brought the idea about life in the world beyond, which was not alien in the notions of the Thracian God-Horseman (sepulchral constructions with his image), as well as in the myth about Herakles who attained immortality after his death on earth. This explains the appearance of a dog on the monuments presenting the triumph of Herakles over death, his transition to immortality, accompanied by the faithful dog, similar to the Deity-Horseman. 3.3. If we have reasons to speak about syncretism of the Thracian religious tradition with a deity from the official Pantheon, it is because in the concrete case we are faced with an example of a Thracian interpretation of the myth abou Herakles and its enriching with local ideas and figures, which is based on the closeness of the religious ideas in the cult of Herakles and of the Thracian Horseman as protectors and victors over the evil forces. However, the word syncretism is hardly sufficiently accurate in order to express the similar ideas in the 1 would be even less prepared to agree with the theory about some local deity of farmers and cattle-breeders, who had assumed the iconographic image of Herakles (2Kexowa, I’. Op. cit., 86-91). 2 Kanapon, I. Anmusnu namemnuyu u3 Beazapua. - MBAJI, 2, 1911, c. 175. 24 Credanon, Cr. Cmapunume no goanust 6aceiin na Stampa. Codus, 1956, c. 57, No 38. 25 TIraepman, E. M. Ompaxkenue kaaccoBux npomubopesuii II-III 66.8 kyaeme Tepakaa. BIUA, 1949, No 2, c. 68. 26 Beaxop, Mi. CpeGvpen koaan om c.AoBeu, Cmaposazopcko. - MAM, 8, 1934, c. 48. 27 pfuhl, E., H. Mobius. Op. cit., Nos 730-739, 424HERAKLES PSYCHOPOMPOS (?) IN THRACE. sphere of religios thinking, which also find similar solutions in the execution in images. Such are also a considerable number of votive reliefs from the territory of Philippopolis and Augusta Traiana, on which Herakles is depicted together with a dog; with the tree of the Hesperides,?? which finds an ideological correlate with the depicted tree with a snake in its branches in front of the God-Horseman - the idea about the Tree of Life whose fruits grant immortality, as well as the victory of Herakles over the boar and the bull, and the catching of the doe with the hunting scenes on the votive offerings to the Thracian deity.3° This raises interesting problems before the interpretation of the cult of Herakles in the light of Thracian religious thinking. 4.1. All four votive reliefs are with considerable dimensions, the scene in relief being in the upper part of the monument, whereas the unhewn or roughly hammered part was probably driven into the ground, Thus, the monument perhaps stood in roadside sanctuaries, at crossroads or at the end of the settlement, while Herakles with his protection guaranteed peace and security to the travellers. This is also evidenced by the formula “Aya®{) Typ.” on two of the monuments: from Kobilino and from Nadezhden. Placed by the roads, they probably played the part of apotropaic signs in order to protect the travellers against the evil forces lurking near roads and crossroads, which was a popular aspect of Herakles” cult in the ancient world.3! 4.2. The interpretation of the monuments as a manifestation of the apotropaic power of Herakles (according to L.Botousharova) is reasonable but at the same time incomplete, because the right arm with the club, raised in a threatening manner, was not a gesture created specifically for the case, but it followed the established pattern of presenting the triumph of Herakles over Cerberus. Therefore, the stone steles probably protected also those who undertook their last journey in this world, which in tum means that the notion of Herakles as a guarantor of immortality and protector of travellers was syncretized in Thrace in his image of protector along the journey through death. 8 From Augusta Traiana - Kanapos, I’. Anmuynu namemnuyu u3 Beazapus. - MBA, 2, 1923- 1924, 72, o6p. 15; from Peroushtitsa - [axonma, B, O6pounu peaedu na Xepkysec om Buazapus. - FIIHB, 192, c. 29, o6p. 2; from Philippopolis - Keesxona, E. OGpounu naouku om @uaunonoa . PHAMII4, 7, 1971, c. 156, o6p. 6; from the village of Voysil, near Plovdiv - Keesxona, E. Op. cit., p. 156, o6p. 7; Bory apona, JI . Op. cit., p. 139. ® From the village of Podem near Pleven - aston, B. Peaed na Xepkyaeca om Magapa. - JIBAJT, 2, 1911, c. 276, o6p. 10; from Philippopolis ~ Bory apona, JI . Tpakulicku kyamoBe om Guaunonoa. - PITAHM, 4, 1960, c. 93, o6p. 1; from Sliven - Kazarow, G. Antike Denkmiéler aus Bulgarien. - 44, 51, 1936, No 1/2, p. 71, fig. 6; from Madara - @uaon, B. Op. cit, 85-97, 6p. 1. * Boresa, J. OGpounu naouku na Tpakuiickust konnuk kamo sxako6a cucmema (onum 3a xoba ‘munoaoeus). - In: Acta TAB. 3. Sofia, 1988, 110-119. 3 The hero who had crossed the entire familiar world and whose heroic deeds drew the map of Greek colonization, was worshiped also as protector of travellers. In the myths Herakles cleaned the roads from bandits and monsters lurking near them, and being himself a bearer of culture, he blazed roads in the new lands (Gruppe, O. Herakles. - RE, Suppl. III, 1918, 1010;1015). 425Kostadin Rabadjiev 4.3. This is a hypothesis based on the strange (for modem man) superposition of ideas observed in the decoration of chariots from Thrace (on the territory of Pautalia, Philippopoliis and Augusta Traiana). The use of bronze appliques with the image of Herakles*? was to be expected in view of his function of protector and patron deity of travellers, but these same chariots are detected today in Thracian tumular burials as grave offerings and as a continuation of an ancient Thracian ritual practice. Was the appearance of images of Herakles on the chariots only a matter of demonstrated prestige within the frameworks of the cultural interaction, or could we go further and seck in this a definite religious symbolism: the horse and the chariot which have to take the deceased to the world beyond, with Herakles being the protector during that journey, ic. Herakles psychopompos? 32 From Pautalia: four bronze busts used as standards and two busts-appliqués from the decoration of a chariot discovered in a tumular burial: Caoxocka, JI. Hofoomkpuma mpakuiicka koaecnuua 8 Klocmengua. - MIIK, 1970, No 4, 7-11, 4, 7-11, o6p. 1, 3, 4; from the village of Shishkovtsi near Kyustendil: a silver bust-appliqué from a chariot discovered in a tumular burial: Beneauxon, Mx. Tpaxniicxara xonecuma. Codus, 1960, c. 29, No 76, Ta6z. 19, 06p, 63; from Peroushtitsa: a bronze statuette from a chariot - Beneanxon, Mn. Op. cit, tabl. 55p, fig. 194; from the village of Mogilovo near Chirpan: a bronze bust, two busts-appliqués and two statuettes of Amazon women killed by Herakles - J[axonms, 5. Tpaxuiicxara xonecumma mpi ¢. Morusono, - PHB, 1923, 151-196, ra6a, 1, Uy.2, Il; Benexuxon, Mu. Op. cit. p. 37, No 124, ra6a, 25, o6p. 78; No 125, ra6x. 26, o6p.82; No 128, a6. 26, op. 80; from the Yambol region: a bronze statuette from the decoration of a chariot - Beneanxon, Mx. Op. cit.,p. 56. No 264, raz. 47, o6p. 163. 426