The Decorated Chest of Kypselos

The Chest of Kypselos Author(s): Henry Stuart Jones Reviewed work(s): Source: The Journal of Hellenic Studies, Vol.
14 (1894), pp. 30-80 Published by: The Society for the Promotion of Hellenic Studies Stable URL: http://www.jstor.org/stable/623961 . Accessed: 12/02/2013 18:04
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30
THE CHEST OF KYPSELOS.
THE CHEST OF KYPSELOS.1 [PLATE I,
? 1.-INTRODUCTORY.
THE restoration of lost worksof art in accordancewith the descriptions of ancient authors and the monumentswhich serve to illustrate them to archaeologists. presents problems which can never fail to be attractive Nor has therebeen any lack of such attempts at reconstruction. The descriptions whichwe owe to Pausanias of the chryselephantine statues of Phidias, the paintings of Polygnotos,the chest of Kypselos, and the throne at the text ofsuchworks, whichreflect withconsiderable Amyclae,have formed the of standard at the time to accuracy archaeological knowledgeprevailing which they belong,and the quantity and qualityof monumental evidence available. A glance at the WienerVorlegeblhtter for Plate XII., where 1888, the successive restorations of the of attempted Iliupersis Polygnotos are side will illustrate side, reproduced by this; and even since that year a furtherstep in advance has been taken by Robert's publication 2 of his admirablerestorations of both the great frescoes of Polygnotos, which may be held to represent the nearestapproximation to the style of that painter whichthe discoveries and investigationsof the last fewyearshave enabled us to make. The restoration of the chest of Kypselos has not hitherto had the same attentionexpended upon it: yet it has been fortunatein having receivedone treatment of a thoroughly scientificcharacter, viz. the work of Overbeck referred to above. Of its othercritics two have only attempted a and of those that of de one, graphicreproduction; Quatremere Quincy,a may
of the earlierliterature of the schaften, 1 A summary 1884, vol. cviii.); Collignon,Histoire subject will be found in Overbeck,Ueberdie de la SculptureGrecque (1892), vol. i. pp. 94Lade dos Kypselos (Abhandlungen der kgl. 100; Overbeck, Geschichte der griechischen Sdchs. Gesellschaft der Wissenschaften, Phil. - Plastike,vol. i.4 pp. 64-67 (1892); Brunn, Hist. Classe, 1865). Referencemay also be Griechische vol. i. pp. 171-178 Kunstgeschichte, made to the following recent works der gricch. dealingwith (1893); Furtwaingler, Meisterwerke the chest: Dumontet Chaplain,Les Cdranmiques ischenPlastik, pp. 723-732 (1893). 2 Die de la Gracepropre, I. ch. xv. pp. 221-230; Halle 1892; Die Nekyia des Polygnot, Klein, Zur Kypsele der Kypseliden(Sitzungs- IliMpersis desPolygnot, Halle 1893. 3 Le berichteder Wiener Akademrnie der Wissen. Pl. III. IV. JupiterOlympien,
31
be mentioned onlyto be dismissed. When it appeared, the time was not for an such ripe attempt,in the absence of the monumentalevidence which we now possess,nor was its author,owingto the verydefects of his qualities, restraint to a task a severe of the which involves imaginative faculty. equal is indeed later in time than The otherreconstruction, that of Pantazidis,4 that of Overbeck,but mustbe pronouncedto mark a retrogression rather than a stage in progress. It returns to a principleof arrangement which, was no longer tenable, after the researches of Jahn,Overbeck and others, with a portionof the and is, in fact,now universally it deals rejected; only chest,and it consistsin a series of somewhat rude sketches whose value in to conceiveof the originalcannotbe pronounced a assistingthe imagination work is on the other hand of Overbeck's one. high very great importance; his principles of reconstruction are in the main,as I believe,the right ones; but it standsin need of revisionin manydetails,mainlyowingto the largely increased material which has since come to hand. Since 1865 our knowledgeof archaic art generallyand of Corinthianart in particularhas been enormouslyextended by discoveries of metal-work and pottery; and thus, while Overbeck was obliged to take the Frangois vase as his we can now attemptwith pattern for the general style of his restoration, some confidenceto reproduce the specially Corinthian features of the original monument. Such an attempt can, of course, lay no claim to be supersededas the archaeological finality:in a fewyearsit must inevitably horizonwidens; it will be sufficient if it represents the standardof faithfully at the It is in attainable this time. and accuracy spirit hope that I have endeavouredto reconstruct the chest of Kypselos. The suggestionI owe to Professor whose constanthelp and advice have been available during Gardner, the work. I was also fortunate in securingthe servicesof Mr. F. Anderson as a whose iunr. draughtsman, long experience of drawing from originals made his aid invaluable in the executionof the designs.
? 2.-THE
HISTORICAL TRADITION.5
THE storyof Kypselos and his house is placed by Herodotus6in the mouthof Sokles, the Corinthianenvoy, who expresses the feelingsof the in 505 B.C.to deliberateas to the restoration Spartan allies when summoned of Hippias at Athens. In thisdramaticform Herodotusclothesone ofthose discursivenarratives whichgive an epic flavour to his work,and at the same time pointsthe moralwhichthe Greek nevertiredof drawingfrom the evils
und Reatlchulen Gelehrten'A6OvaLov,1880, P1. A' B' r'. Wiirttembergs, 1888, iii. 192; Hirt,Defontibus pp. 28-45, 93-126), has not yet published the S0. Jahn,Hermes, Pausaniae in Eliacis, p. 36 sqq.; Klein, op. cit.; secondpartofhis treatise, whichis to deal with the offerings of the Kypselidai; but cf. FurtKalkmann, Pausanias der Perieget, p. 98; Gurlitt, Ueber Pausanias, pp. 163 if.; Furt- wdngler, p. 726. 6 v. 92. wangler,op. cit.; Knapp, Die Kypselidenund die Kypseloslade (Korrespondenzblatt fiUrdie
32
thefears and hatred of tyranny. We may regardthe narrative as embodying of the restored as told The of runs Corinth. Herodotus by aristocracy story the Bacchiadae. Labda, as follows :-Corinth was ruled by a close oligarchy, the daughter of Amphion, being lame, was forcedto marryoutside the charmed circleand became the wife of Eetion,the son of Echekratesof Petra, a descendantof the Lapithae and Kaineus. The Delphic oracle predicted that theirchild should 'chastise' Corinth, and the Bacchiadae therefore sent ten mento kill it soon afterits birth. But the infant smiledon its murderers, hand to hand and given back to its mother, OBeyr7X, and was passed from not one having the heart to kill it. As they went away,however, they and returned to accomplishtheirtask: but Labda had overheard repented, theirconversation, and had hiddenthe child deT 7ob /paod-'ra'rdv ol dEaive.ro to the elvat, d6 Kv#*EXv. They could not find it, and at last returned Bacchiadae and said that they had performed their task. The child was called Kypselos in memory of his escape, and when he came to manhood TE Kal o-EXe Koptlvov. E7rEXEtPp The legend belongsto the class of whichthe storyof Cyrusis the most typicalexample. It is not met withagain in literaturebeforethe time of who in his 'Banquet of the Seven Sages' makes the poet Chersias Plutarch,7 speak as follows,after brieflyrelating the storyin the form given by Z Herodotus:-&t Ka 7T'NioKo o KeXho1, dr-7rep ,lv AeXofi KaTreoKEv.aoev )taX Vral. l KXavO/pupto-PLV Eo0r TOTCe 7zOv '0w7or dot rov' Tro, ,trLoXo1vro1, It was.in the lifetimeof Plutarch, or at latest shortlyafter his death that the rhetorician Dio Chrysostomos visitedOlympia and theresaw, as lie tells us incidentallyin his TpwotKo 'the wooden chest (Kt/WT76') Xodryo,8 which Kypselos dedicated,' standingin the 6irto-OLdozoqo of the temple of Hera. About half a centurylater Pausanias wrote his 'Handbook to Greece.' Withoutenteringinto details as to the controversies which that work has to say that,in my opinion,no candid inquirer raised, it may be sufficient who visitsthe sites describedwithPausanias in his hand will doubt that the writer speaks as an eye-witness, just as no reasonablecritic,bearingin mind the nature of second centuryliterature,will deny that the book is in from earlier sources. Pausanias, then,saw at Olympia a part a compilation chest (Xapva?), 'in which,he tells us, Kypselos the tyrantof Corinthwas hiddenby his mother, when the Bacchiadae endeavouredto findhim at his birth. In memory therefore of the deliveranceof Kypselos his family, called the Kypselidai,dedicated the chest at Olympia. Chests were in those days called by the people of CorinthKv*EXat ; and it was from thisthatthe name as was to the child.' Kypselos, theysay, given Such are the materialswithwhichhistorical has to deal. The criticism and legend it puts aside: but what was the chest which Dio Chrysostomos Pausanias saw at Olympia? We do not know how soon the story of Kypselos' miraculousdeliverancearose: and there would thereforebe no
ii. 163 F. s xi. 325 R.
33
in the suppositionthat the chest was dedicated,if antecedentimprobability not by Kypselos himself, as the earlierauthorstates,at least by his descendto Olympia,and ants, especiallyas we know that Periander sent offerings of Zeus.9 Or we mightadopt statue the famous colossal golden particularly the slightly modified view suggested by Klein, and regard the chest as the 'speaking device' of the Kypselidai,with a kind of heraldic significance. This would not be out of harmony withthe spiritof the time,and the chest would formthe starting-point for the growthof the legend. But modern criticism has not rested here. We cannot afford to pass over in silence a series of arguments whichhave been adduced of recentyears,and which are not without a certaincumulativeforce, whose tendency is to cast a doubt on the connexionbetween the chest describedby Pausanias and the family of Kypselos. The questionwas first to the raised by Otto Jahn,10 who called attention fact that Pausanias, in describingthe third band of the chest,on which adds that two were represented, battle-scenesunexplained by inscriptions explanationsof the mythical subject were given by the 'rpr7Tal,neither of whichwas drawnfrom of his a third and therefore Corinthianlegend, suggests own invention in orderto satisfy derivedfromthe local mythology of Corinth, the claims of probability. Jahn concludesthat the if~y7qal who explained the scene without reference must have been unaware to Corinthianhistory of any connexionbetween the chest and the house of Kypselos, and are therefore not to be identified who showedthe sightsof withthe local ciceroni Olympiato Pausanias, but are earlier authorsfromwhose works Pausanias compiledhis account. This date would be a matter of conjecture,but at least it would be shownthat the storyconnecting the chest with the Kypselidae was of comparatively recentorigin. But this argumentis not decisive. It is no doubt true that Pausanias does use the word -ym7-qT7 , not onlyof but also of authors." But this proves nothingfor the case before ciceroni, us. And in view of the numerousscenes represented on the chest which have no connexionwith Corinth, it cannotbe maintainedthat an interpreter would necessarily feel himselfbound to Corinthianlegend. As a matterof of Elis, which fact,both the explanationsgiven are drawnfromthe history would seem to point conclusively tale of local interpreters. to the traditional Kalkmann added a second argument. Plutarch in the passage quoted above illustrates the storyof Kypselos by referencenot, as would seem natural,to the chest,but to the shrine at Delphi. Hence, concludes Kalkmann, he was unacquainted with the tradition as to the chest. This ex silentiois reinforced argumentum by Furtwingler, quoting the opinionof who has a of the Kypselidae,but made special study of the history Knapp, has not yet published the whole ofit. Besides the storyofHerodotus,there is a divergent tradition as to the rise of Kypselos to power,preserved to us
0Overbeck,Schriftquellen, 298-301.
'o 11
Hermes,iii. (1869) 192. Gurlitt,p. 163. The phraseio-Is IAvior-Lv II.S.-VOL. XLV.
perhaps lends some support to this elp-Lqmvov interpretation.
34
in the fragments of Nicolaus of Damascus, but traceable with practical to ignoresthe legend of Kypselos' hiding certainty Ephoros. This tradition in the chest,and states that when the baby smiled on the assassins, they were movedto pity and told his fatherthe truth. Eetion at once removed the child to Olympia,wherehe grewup as suppliantof the god. When he arrivedat manhood he returned to Cleonae, and thence,in consequenceof a wherehe ingratiated favourableanswerfrom the god at Delphi, to Corinth, of polemarch, himself with the people, especiallyby his conductin the office the share and of all finesto with offenders remitting great leniency treating whichhe was entitled. Following the conventional careerof theearlyGreek ov to acquire supreme T ToV if tyranthe used his position as 7rpoo-Trdr we may with some which a power by coup d'etat. Such is the account been accepted by have confidence to to Ephoros,and which seems attribute as who in the Politics twice speaks of Kypselos having become Aristotle, recentinquirers are tyrant by Saywaytyla.12 As to the value of thistradition, of Ephoros'rationalizing dividedin opinion: Busolt13 regardsit as a specimen tendency applied to Herodotus' narativeand emphasizesthe internalinconof its sistenciesand improbabilities of the story. Knapp sees a confirmation truthin the fact that wroXe'papXot the had, as we know frominscriptions,14 dutyof collectingfinesin certain Peloponnesianstates,and would therefore it to be inconsistent withKypselos'attainment reject the first part,admitting of office under the Bacchiadae, and accept the second as derived by Ephoros from genuinetradition. But it is farmore in accordancewith the method of Ephoros to suppose that he filled the gap in Herodotus' account with a somewhatconventional storyof the rise of Kypselosto power'K wrpoo-rarT'LKv p~iqs.,embellishedwith details whichhe may have drawnfrom contemporary Corinthianinstitutions. Be that as it may, Knapp and Furtwqngler hold that Ephoros could not have omittedthe storyof the chest,had it formed in his time one of the sightsof Olympia. Therefore, the connexionwas not knownin the fourth century. It must be concededthat Ephoroshad in all visited as evidence probability Olympia,and that the use e.g.of inscriptions was not unknownto him.15 But it is in the highestdegreeimprobablethat the storywhichthe local guides retailed to visitorsin connexion with the in the Heraeum would deterhim from offering exercisinghis criticalfaculty on the narrativeof Herodotus. The author who explained the dragon of Delphi as a robber-chieftain by the name of Python was not likelyto be influenced such considerations. Moreover the arigumentum is a ex silentio by we are told,did not know of the tradition two-edged weapon. Plutarch, because he prefers to allude to the shrine at Delphi, with its legend that restrained the infantKypselosfrom when hidden in the chest. Apollo crying Was this story, also later than the time of Ephoros? Such evidence then, mustclearlybe receivedwiththe utmostcaution.
12 13 14
viii. (v.) 1310b29; 1315b27. Griechische Geschichte,i.2 635. Andauia, Ditt. Syll. 388, 165; Thuria,
ii. 48. Vischer,Kleine Schriften, *' Fr. 29, Miiller.
35
In my opinion,the mostserious argument as yet adduced against the connexionof the chest withKypselos is the following.The coins of Kypsela in Thrace16 bear as their device a Kv#*EkX, i.e. a cylindrical jar with two handles. Sittl17 referred to the use of the wordby Aristophanes of a corn-jar8i and argued that the Kypseleof Olympia was such a jar, cylindrical in shape, a dedicated as for a harvest. probably Furtwaingler thank-offering plentiful makes a different use of the evidence thus supplied. Pointingout that the otheruses of the wordIv#C'Xy, whether of a bee-hive,or of the hollow of the ear, alwaysimplya round hollowobject,he regardsthe identification of the adpva? or at Olympia,of whose rectangular nature therecan be K1tlrW no doubt,with the cv#E'X- in which the infantKypselos was hidden as a and late transparentfiction, thinly disguised by tile words of Pausanias which reflectthe popular methodof solving the difficulty: 'the Corinthians of that time called Xdpvaces'by the name of KvlikcXat.'There is much force in this argument. The lexicographersuniformly connect the word Kv*'Xfl withthe adjective Kvod6, applied to a cup by Athenaeus. The root is that of and the Latin cu(m)bo. Referencemay further be made urrrow to the scholiast's note on Lucian, Lexiphanes (p. 145 Jacobitz). Lucian employs the word EvweXIl in the sense of the wax in the human ear-a meaning derived from the second sense of KV*'XVqmentionedabove-and follows it up with a pun on the name of Kypselos. The scholiastin explainc 70OsTapTrov a7Tortolevrat. it, KvlX~), Kal TO' or-parKovv ing ayyEtiov, A ev o says": Kopivlov Tvpavvos 7q ~'pr po KaaKpv/,ptes, prTt/6vv?7oo a form of TbV7ro Kv'*iXo cmvolu -ly. Clearly the presupposed by this note icveXq is that whichwe see on the coins of Kypsela. And does it not seem probable that Herodotus,when he tells us that Labda hid the child 6d rb Tdppaorde ot ElalvvCro elvat, was thinkingof such a jar ratherthan a chest-the Tardy obvious most place in whichto look forthe hidden child? What then are we to concludefrom all this? All that is certain is that in the second centuryA.D.a chest was shown at Olympia and the story of Kypselos was told in connexion with it. It is improbable that it was dedicated as a KIJcJA~J by the Kypselid house, and uncertain when the was attached to it, thoughperhapsnot before the Hellenistic period. legend If the argument of Jahn be pressed,and the theorythat Polemon is the source of Pausanias' explanation of the scenes be accepted,the storycannot have risen before the second half of the second centuryB.c.09 But the internalevidence of the description, as will be shownlater,proves the chest to be a Corinthianworkof art of the earlyarchaicperiod; Periander,as we at Olympia; nor does there seem any know,dedicated valuable offerings reason whythe storyof Kypselos should have attached itself to the chest unless it was an offering of his family. The mostreasonableconclusion then
Publishedby Imhoof-Blumer, Abhandlunz- 1893), p. 24. 18 gen der baycrischen Pax, 631. Akademie der Wissemxviii. P1. VI. schaftetn, wpoEvtlaat Delphi in 175 '9 Polemonreceived 17 Parerga zur Kunstgeschichte Wiirzburg, i.cx, (Ditt. Syll. 198, 260).
16
D2
36
THE CHEST OF K YPSELOS.
would appear to be that the work was really dedicated by Periander,and that the storyof his father's escape was at some later period attached to it the local tradition. This conclusionwill be strengthenedif it is found by that otherindicationspoint to the same date.
AND DECORATION.20 ? 3.-FORM, CONSTRUCTION The termsused by Dio Chrysostomos and Pausanias (viv ofCtrPTs) leave us in no doubt as to the nature the offering. It was a (Xadpva?) chest,such as that 8at8a6la Xdpva? in whichDanae put to sea, rectangular and which figuresin the representations of her story. We may thus put aside the theoryof O. Miller 21that the chest was ellipticalin shape. Nor can we accept Sittl's view that it was circular, based as it is upon the Kv*eXI? on the coins of Kypsela, for, as has been pointedout above,they represented in the true sense of the only serveto provethat the chest was not a Kv#EX/y word. For the materialwe have the testimony of Pausanias--dapva xI/6pov 6 8 Xpvo-, v e Kat & ~La & FEv vre8roflOrat, , E7\rfavTo' ETr' a6T Of its dimensions we hear aVT?r ~7oriv elpyaope'var77v Keipov. nothing. It is unlikelythat,as Schubartsuggests, in were the lacuna which they given the It in stood the immediately precedes description just quoted. 7rtro-6with otherofferings mentioned by Pausanias 8opovof the Heraion,together in v. 20, 1-a small couch with decorations in ivory, the 81s0-ov of Iphitos, and the chryselephantine table of Kolotes. The 37rwrta660ov measures m. and the chest stood of the 3,54 one walls. 8,34 m., by probably against the of on we Comparing representations XdpvaKe1 vases, might perhaps expect it to be not more than fivefeetin length,about half as broad,and not morethan threefeet in height. The lower limit of size, as has often been pointedout,is given by the shield of Agamemnon on the fourth band, whichwas adornedwith a figure of Panic and also bore the inscription Tov o" ,8v FPo`3o
f
por,
'
xv
'Ayap1t4vv.
The letters we mustsuppose to have been inlaid in gold. Our illustration will showhow these conditions have been fulfilled. The of the may length original is 2,40 m.,and the scenes are so arranged thattheycan be distributed drawing betweena long face 1,20 m. in length and two narrowends each 60 cm.long. The heights of the five bands, beginning,as Pausanias does, from the bottom,are 8, 12, 13-5, 11 and 9 cm. respectively. These proportions are verysimilarto those of the fivebands of the Frangoisvase. The verticalbands of ornament are cm. in breadth. 2"5
See listofauthorities on ? 1 ; also Lischcke, der 1892, pp. 1-10; Sittl, Wissenschafteu, A.Z. 1876,p. 113, and Archdiologische Misccllen Parerga zur Kunstgeschichte (1893), p. 24. 21 Wiener (1880), p. 8; Robert, Hermesxxiii. pp. 436 ff.; Jahrbiicher, 1827, p. 261. Overbeck, Berichteder kgl. sdichs.Geaellschaft
20
37
of The expressions is farmore difficult. The question of the decorations Pausanias whichhave a directbearingupon it are the following : e (1) v. 17, 6 ap~al4vi Kca'&rOEv Oo-da&e l7r't Tri avao'oreio'Oat -l 7rp Xapvapco9 7rapXeat Xopa. yj (2) v. 18, 1 7i Xcpaq 86\ pvaIC T1 Beu7pa9 d (pto'Trepov Xdp7t T Ap a1 79 o 'ov. LEV loeVtTo rept APXY ' dr"\ P a (3) v. 18, 6 r-rpaTtwrEtch XP aLpvaicow. paT17 pi 1 4 (4) v. 19, TETapra dEr:l 7'iT Xapvaict E apt-TEpae 7repttVT1t IC.T.. K.T.X. &) (5) v. 19, 7 7 ryap Xc/pa, aptOlV eioL't 7r 8veo7dT 'ie Three pointsseem to emergeclearly: in order, whichPausanias describes beginning (1) Therewerefive Xcgpat, withthe lowestand endingwith the highest. fromright to left-(1), (3), (5)-and from (2) He proceedsalternately leftto right-(2), (4). transwhichis mostnaturally (3) The processis describedas a wreplo80o, lated 'circuit'; the verbused is 7repttEvat '). (' to make the circuit of By these tests all theoriesof the chest must be tried. A 9rdsume the earlierstages of the controversy will be foundin Overbeck'swork,? 2. A. Heyne, who firstattacked the problem in 1770, regarded the five to the foursides of the chest and its lid, and this Xopat as corresponding of theoryformanyyears held the field; it was embodied in the restoration de Quincy. But it is easy to see that it cannot be reconciled Quatrembre with the expressionsof Pausanias quoted above, when interpretedin their naturalsense: and indeed the destructivecriticismof Jahn and Overbeck may be said to have driven it fromthe field. It was revivedin 1880 by Pantazidis, who published sketches illustrating the principle.: but the attemptwas a failure and is rightlycharacterizedby Klein as a case of 'atavism.' B. The other theories all agree in regardingthe five Xcopatas five bands: theydiffer horizontal accordingas they assign the whole decoration it over three,or again to one side of the chest, or to the lid, or distribute over all foursides. leftthe question (a) Jahn,in his firstessay on the chest of Kypselos,12 an open one as betweenthree sides or one. Brunn23 and Loschcke24 decided forone side only,on the ground that a certain symmetry and responsion of the scenes,and that this would only could be observedin the disposition be intelligibleif the whole could be envisaged at a glance. LSschcke,for band example,argues that the Harpies and the Boreads whichclose the first on the leftanswerto the Gorgonsand Perseus at the right-handextremity of the second band, and that both must have been visible to the spectator at the same moment. Overbeck adds a furtherconsideration. Brunn long ago pointedout that the chariotof Iolaos is wronglyincluded by Pausanias in the cyCov dl IIEXla, and reallybelongs to the conflictof Herakles with
22Arch. Aufs. pp. 1-15 (1845).
23
Die Kunst bei Homer (Abh. der bayr.
Akad. 1868). 24 A.Z. 1876, p. 113 note.
38
the Hydra. Pernice has conjecturedthat the seated Herakles mentioned by afterthe house of Amphiaraosreallybelongsto that Pausanias immediately on the Corinthianvase,M. d. I. x. 4, which a similarfigure scene,comparing shows so exact a correspondence withthe chest. Both these errors would if the chariotof Iolaos and the seated figure be veryimprobable wereon the side-surfaces. Thereforethe departureof Amphiaraosand the Hydra-scene musthave been on the front, and we are left with only the Phineus-scene and the pursuit of Pelops by Oenomaus to fill the sides: this step is LIschcke and Klein have shown actually taken by Robert. Furthermore thatthe topmostband was in all probability occupied by two scenes onlythe nuptials of Peleus and Thetis,and the combat of Herakles and the Centaurs. Is it likely that both these scenes were brokenby a corner ? So much may fairlybe said for the ' one-side' theory. On the other hand it may be urged: (1) The responsions discovered by Brunn and Lischcke are proit cannot be proved blematical,and that even if theyexistedfor the artist, that he feltthe necessityof consultingthe spectator's convenience. (2) This applies also to the objectionthat the artist would not allow a scene to be broken by a corner. Does not the Parthenon frieze form a concreteanswerto these arguments ? (3) Pernice's conjecture is very improbable: but Brunn is certainly right in annexing Iolaos to the Hydra-group. But, as we shall see, there was probablyno band of ornament separatingthe scenes of the lowestX&)pa, and Pausanias, who was not necessarily acquainted with the archaic scheme of the Herakles and Hydra contest,might well suppose that a quadriga in the belongedto the wyawov dr IIeHXa,even thoughhe had turneda corner course ofhis 7replo8os, was to be observed especiallyif a similarphenomenon in the case of the Centaurson the uppermost band. (b) Jahn,in his secondtreatmentof the subject,followedby Overbeck in his restoration, distributes the scenes over three sides of the chest. Our drawingwas also prepared with a view to showing that it was possible, withoutundue forcing, so to arrange the subjects that they should occupy one long and two short sides-the latterhalf as long as the former. It is not to be denied that some practical difficulties arose; whetherthey have been successfully is not for us to decide. If so, much will have overcome, been gained forthe 'three-side' theory, whose main strength lies in the fact that it is theonlytheory does in to the language which res'pect every fulljzstice of Pausanias. It has yet to be shown that the words7reploto0, 'repusivat be used in the sense merely of can, as has been assertedby Furtwangler, that the forceof can be not local going backwardsand forwards-for r'ept but that whichit has in as suggestedby Jahn,may 'reptryeio-Oat,originally be considered out of the question. I believe that to give the wordstheir due meaning we must assume that more than one side of the chest was decorated. (c) It remainsto mentionthe theoryof Klein, viz. that all foursidesof the chest were covered with representations. The firstobjection which
39
suggests itself takes the form of a question. Why did Pausanias alternleft to right? And this is really ately proceedfromrightto leftand from fatal to the theory. Klein argues that the general directionof the bands was given by the opening scenes,and that theywereso to speak disposed 86v. He would call this the application of the spiral principleto /0ovo-rpo@r a rectangular surface. But his case breaks down in detail,as Pernice has pointed out,apart from its inherentimprobability. Klein would have us a cubical chest: the middle band only presents a continuous reconstruct the other fourbands form'triglyph-systems,' in which three square frieze, scenes alternatewiththreesquare 'triglyphs'on each face. The analogies whichhe adduces provelittle,and, above all, it is quite impossible, as the necessities of fit to the scenes of the second and practical drawing prove, fourth bands, withtheirvaryingnumberof figures &c., to such a Procrustes' bed. Klein's reconstruction has therefore been justly condemnedby subsequent writers. None of the theoriesproposed is free fromdifficulties, and these have been so strongly feltbyOverbeckthatin his recentdiscussions of thesubject25 he confesses that in the lightof recentinquiry we must suspend our judgment. It may be so: but in spite of the adhesion of Brunn,Loschcke,and I believe that that which assumes Furtwingler to the 'one-side' theory, decorationon three sides will eventually be regarded as possessing the highestdegree of probability.
? 4.-INSCRIPTIONS.S6
Pausanias tells us that inscriptions were foundonlyon the first, second, and fourth bands. They were of two kinds,those whichgave the name only to whichtheywere attached,and the metrical inscriptions, of the figure in from one to two hexameter length lines,whichare found onlyon the second and fourthbands.27 Pausanias conjectures (v. 19, 10) that these were to the similarity of composedby the Corinthian epic poet Eumelos,referring stylebetween them and the processionalhymnto the Delian Apollo which Eumelos composed for the Messenians. This is clearly a groundlessand make gratuitous supposition of Pausanias himself. The chronographers Eumelos a contemporary of Archias,the founderof Syracuse,and date him in the ninth Olympiad. The hymn for the Messenians cannot have been composedafterthe second Messenian war. But the originofPausanias' con25 Siichs.Ber. 1892, pp. 1-10, and the new pp. 156-174. editionof theGeschichte dergriechischcn Plastik. 27 Mercklin(A.Z. 1860, p. 101 ff.), adopting 26 Fick, Ilias2, would go farther Einleitung,p. vii.; Preger, the 'three-side' theory, and Inscriptiones Graccae Miietricae (1891), pp. to the frontof the say that theywereconfined Die korinth- chest. In this he is followed 143-147. See also Kretschmer, by Robert; but ischen Vaseninschriften is wanting, and practical necessity (K.Z. xxix., 1888, pp. proof forces 152 ff.),and Die griechischen Vaseninschriftenus to depart fromthe principlein the case of the fourth band (Ajax and Cassandra). (Giitersloh1894), pp. 16-50 ; also Wilisch,Die Thonindustrie altkorinthische (Leipzig 1892),
40
traditions of Corinth jecture is transparent. Eumelos embodiedthe legendary in his Koptvwta/cd;and it was froma prose paraphrase of this work that Pausanias derived, the sketch of earlyCorinthian mediatelyor immediately, he which to Book ii. There was howeversome questionas prefaced history to the genuinenessof these works, and so Pausanias (ii. 1) says Ta e'7rt &8 and The el to the Delian rye' fvryypar. hymn X.6yeTrat 7rotjo-at E@nkiXov Apollo on the otherhand was admittedto be genuine (Paus. iv. 4, 1 elval we <9 EVTjXov 'raiha) and Pausanias quotestwo vopdelrat OdvaTv 'Trw axO19o0i linesfrom it in iv. 33, 2 (= Bergk,P.L.G.4 ii. p. 6, Kinkel,EpicorumGraecorum in Bergk's restoration:Fragmenta, p. 193). They run as follows c7 ayp'IOwdC MoFa Tcara'apuov E''7Xero a IaOlaphv <KlOaptv> Ial dkev'Oepa e'Xotoa. od/.tpakX'
Doubtless Pausanias, noting the Doric dialect of the inscriptions, combined the fact with his slender knowledgeof Eumelos,whose genuine work was in dialect,and whosehome was Corinth. also written But Eumelos was,as Pausanias himself tellsus (ii. 1, 7), a Bacchiad,and therefore mostlikelyto writeforthe Kypselidhouse: and moreover the early dates assignedto him in thereceivedchronology (01. IV. Hieron.Euseb.Chron. p. 87 Schbne,01. IX. id. ib. p. 83 Schine, ovyd7LfEPXcElvat 'peoi3vepo 'ApXlar7 c7ro-avrt Clem. Al. Strom.i. p. 144 Sylb.)receivecon~vpacoo'av firmation from the factthat the 7rpoo-68tov to the Delian Apollo must date from the days of Messenianindependence. The inscriptions as transmitted by the MSS. of Pausanias bear unmistakable tracesof Doric, nor is it difficult, as Fick and Preger have done,to theiroriginalform. Fick notesthe use of restoreapproximately obTroin a deictic sense as characteristically Corinthian,comparingSimonidesFr. 98 a Corinthian)etc. and one or two Bgk. (obiro 'AieWlavaroT-for slight errors in the text of Pausanias are due to a of the misunderstanding Corinthianformsof letters. Some of these inscriptions, he tells us, were writtenin a continuousline, others)ovorpocf6qv. They were inscribed forms of the letters and of the whole inscriptions. The latter view seems moreprobable. The restoration follows the practiceofAttic,Corinthian, and Chalcidianvase-painters in makingthe inscription take its direction fromthe to whichit belongs,whether from figure as deterrightto leftor the reverse, of spacing etc. minedby considerations The alphabet employed is that of the earlier Corinthianvases and inscriptions.Two pointsonlyseem to call forspecial notice: (i) 9 does not seem to have been regularly writtenbefore liquids by but onlybeforeo and v. There are some exceptions, Corinthians, the notably Tydeus-Ismenevase (M. d. I. vi. 14) which has and IEPLepX,4v0o, Q9vrb" but the generalrule is as stated above, and if applied would exclude strictly 9 fromthe chest altogether. In view,however,of the appearance of the letteron two important vases in the name of Hector,I have admittedit in that case only.
6Xtvyo^ u9v aw43ae'oOat which has been interpreted both of the XaXEWroo,
41
(ii) Strictly speaking, the symbol p in Corinthian represents only 'unecht' et. This principlehas been generallyapplied, but it has been in the case of the termination of the 3rd person singularon departedfrom of the vase in the Louvrewiththe inscriptions the authority ~e'ryp and FtxKgp in the name from d. x. and M. L. 4, (Wilisch 24), by analogyin the 'Apygov of the names Medea and Hippodamia, terminations and in the form'Epppa."28 dialecthas been restored The Corinthian as faras is possiblewith our scanty Fick has shown how this knowledge. may be done in the case of the with but little violenceto the traditional metricalinscriptions text; divergences from his restorationare mentionedin the critical notes. The chief is the form stumbling-block lipwrae (v. 18, 2) wherewe shouldexpectto find Fick But Frdhner's brilliantemendation-T-av Ei'avoi restores). iap7rae(as the same forTa'vdec while in itself makes line, irresistible, &pwrage vaoi--in of the digammamust be attended with much impossible. The restoration in the case of propernames,except when the monuments uncertainty guide us (e.g. Ai'av). Inscriptionshave been attachedto all figureson bands I., II., and IV., attestedor indirectly except wheretheirabsence is expressly implied by the wordsof Pausanias. His phrasesare :
'reT a4j. (1) v.17,7 rpe8V^rTt

(2) v. 17, 9
povy. ,y7parrTat 8 rToi'HpaUKXEoVq (4) ib. vToVovx Iayvdo'Tov

iTE
at llXov*To S&'voa etOLV (3) v.17,11 Ovyar'pes
7ij ryvvatICo" 7av'T7r dTrypallppa
1lv a$7reOrTtv i"'t
l'Acrr 7
Kal
6i. ,
7To re WOXov X0Pw
v.)
v.
8e\ 18, 22o8vo aXXaq ,mai
.i...n? Oaptalca flovat oav
vot'ouo '
o&v'r, "Xa
ovota
& E
airavTa"
ea 'HpaKX e'vae.
v.7r
El 7 ellepe
I a V ?jp ph FtV a e~vrJc In v. 18, 3 Pausanias carefully Ev x..evy says & Se5LtKdXLKea, 7?r8 ~aw heriv bppov,Xa/3ivefrat air' v 'AXcr4v. He to the story then explains the scene by reference ofZeus and Alkmene: from which we may infer while that that Alkmene's name was inscribed, certainly of Zeus was not. The principlethus establishedis of great value in inter& ' b'7r XA'y 7rTOpvya6 pretingthe wordsin v, 19, 5, o.la ob.ic "Ap"Tteq ' whichseem to me to pointwithcertainty to the presence of A'ova-a ,c.a.X., and thus to maintain the representation an inscription, in the importanceof whichit has recently been attempted to robit. The techniqueof the inscriptions is uncertain. Robert29supposedthem to have been painted and partlyobliterated by time,in orderto explain the
6, 7, 10). 2s Metre is against writing 'Epp[as, as the (Wilisch 29 xxiii. 438. Hermes, on constant vases spellingAlv[as mightsuggest
y4qypavrTav
pa
a.
42
difficulties of v. 19, 8: but,as will be seen, a simplerremedyis thereto be and thereis moreprobability in the suppositionthat theywere inlaid found, in gold.
? 5.-TYPOLOGY AND ARTISTICAFFINITIES.30

The historical tradition, such as it is, and the scantyevidence to be gleaned fromthe inscriptions, predispose us to believe that the chest of was an Corinthian workof art,dating fromthe firstdecade early Kypselos of the sixth century B.C. But the main burden of proofmust,in view of of tradition, rest on the internalevidence supplied by the the uncertainties and details. technical types They must be compared with literatureand tell us of the withpopularlegend; withwhat traditionand the monuments with the smaller of art at forms the above all, time; higher prevailing productsof industrial art which have survived the ravages of time in as to and therefore form the richestmine of information greaterquantities, can alone and which In the which it comparisons earlyart-types. suggests, of Greek art,lies enable us to assign to the chest its place in the history of Pausanias' description. the chief interest The period of Kypselid rule in Corinthis of capital importancein the of Greek commerce and Greek art. The time of colonial expansion history was drawingto a close. Miletus and Megara held the Black Sea and its theN.E. whileCorinth and Chalcis,barredfrom againstall comers, approaches of had taken and the for their Sea route, sphere influence, Sicily Tyrrhenian thoughtheycould not exclude Megara from Sicily,norpreventMiletusfrom withWesternItaly by the land routefromSybaris to Laos. communicating has Holm 31 powers, ingeniouslytracedthe groupingof the rival commercial and broughtthe factsinto relationwith the scantynotices of the so-called Lelantic' war. The positionof Corinthis with Chalcisand Samos 32 against , allusion may be seen in the Eretria,Miletus and Megara. A contemporary lines includedin the collectionknownas 'Theognis,' vv. 891-894.
60 aTo zv K'ptivOo XoXcv, AnXdvUrov dya8kv xcIperat ol01v6reSov, o01 ' cefryowvt, w7rXtv B KcaKco St'rwovo'v. olt'ot avaXKEteL"
'
&o
d,,yao't
Zek 84 Kvu~eXtrcwv
7lyvo. oXoo-ete
is widelyscattered; but re- passim); Schneider, zu einernecen Prolegomena 30 The literature Bildwerke(1890); Berichte ference may be speciallymade to the worksof Gallerie heroischer derKutnst in Griechenland) Milchhdfer der Wissenschaften ; der kgl. sdichs.Geselsllschaft (Anfdnge Loschcke (A.Z. 1876, pp. 108-119, 1881, pp. (1891), pp. 204-253. of E. Cur. 31 Lange Fehde(Hist. Phil. Aofsditze 29-51; and thethree'Dorpater Programme' the years 1879, 1880, 1881-Die Beliefs der tius gewidmet, 1884). of Herodotus(iii. 48), whatever 32 The story Basis, Archdologische Miscellen, altspartanischen Boreas und,Oreithyia of auf demn Kypseloskasten); be its exact value, reflects onlythe feelings Furtwdngler (A.Z. 1883, pp. 153-162, 1884, CorinthtowardsSamos in his owntime,which Thue. i. 40. pp. 99-114; Der Goldfundvon Vettersfelde we knowfrom IV. Die Bronzen (1883); and OlympiaTextband
43
that the There is no ground forthe infelicitous suggestionof Unger,33 in the of Kerinthostook place at the end of the sixth century destruction war between Athens and Chalcis (the Kypselidai being representedby Isagoras!); it becomes gratuitouswhen we recognize that 'Theognis' is of various dates.34 The lines in merely a collection of drinking-songs the like which couplet appearing in various formsis connected question, withthe colossusof Periander,35bear witnessto the hatredof the Megarian the commercial forthe Kypselid house. Kypselos strengthened aristocrats relations with of his Periander Corinth maintained by position colonies: and Egypt.37 Lydia"G The activityof Greek trade with the East had long been reflectedin the phenomena of industrial art and its development; but before we examine these moreclosely,it may be well to note that the period of the Kypselids saw the beginnings of Greek sculpture. The foundation of and of Cyrenein 630 brought Naukratisabout themiddleof thesixthcentury, the Greeksinto directcontactwiththe decliningcivilizationof Egypt. In a made on the Ionians in Egypt fewyears or at mostdecades,the impression the artisticimpulse,and the awakened of works the Egyptian sculpture by of the seen in was result Herakles Erythrae and the Hera of Samos. in various were made materials, marble, bronze, wood, but Experiments which grouped notablygold and ivory. Robert has analysed the traditions the names of these early artists,so far as they were known fromtheir in a connected scheme under the name of AatiaXlbat. It is inscriptions, enough for our purpose to note (1) that Dipoenus and Skyllis,the first reallyhistoricalnames,workedat Ambracia,a colonyof Kypselos, (2) that Olympia,besides Periander's colossus of beaten gold, contained works in and cedar-wood by Theokles, Medon and Dorykleidas in the gold, ivory, as well as by Smilis, the artistof the Hera at Samos, who, next generation, and should be as Furtwinglerhas shown,was doubtless Samian by birth, restoredto his place among the earliestof the AatuaXiLat. His work,as well as that of Medon and Dorykleidas, stood in the Heraion. In the of the same templestood the chest of Kypselos,likewise made 7rr-a~o6o~;oov of cedar-wood, ivoryand gold. Can we be wrongin connectingit with the
AatMaXl at ?
It is well to bear this in mind when we pass to the striking parallels to art in metal and be drawnbetweenthe chest and the productsof industrial forwe must not lose sight of the fact that it cannot be finally pottery, judged by the standards which we naturally apply to such work. The of this will become apparentas we proceed. significance
23 Die troische desSuidas (Abh.derbayr. a parodyof the original Aerca 35 Theyclearlyform whichwe can no longerrestore. Akad. xvii. 1886,p. 522). Busolt unfortunately inscription, 36 Hdt. iii. 48 (though the storyitselfis of Geschichte, accepts it (Griechische I.2 457 Anm. value). 4). Equally unhappyis Unger'sexplanationof doubtful Epigrammn 37 His son was named Psammetichus (Nik. Theognis773-782 ; cf. Reitzenstein, Dam. 60 = Miiller F.H.G. iii. p. 394 from und Skolion(Giessen1893), p. 59. op. cit. Ephoros; Arist.Pol. viii. (v ) 1315b26). 3' Reitzenstein,
44
Greek industrial art in the period of Kypselid rule at Corinth was itselffrom the Oriental influences which had been so strongly emancipating felt in the eighth and seventh centuries. When the 'second wave' of influencefromthe East set in, the later forms of 'Mycenaean' art and the various 'geometrical' schools of workexisted at several centres. To fix a lower limit of time at which Mycenaean art ends and geometrical art begins is no longer possible. While the latter-though mainly developed under Northerninfluence the old 38--took over many Mycenaean elements, lived on side side with and influenced in it various it, style by degrees at variouscentres, until itself transformed and thus saved fromextinctionby freshcontactwith the East, the result of which is most strikingly seen in the ' Rhodian' and ' Melian' fabricsof pottery. The former ofthese fabrics, indeed,is now held by manyauthoritiesto have its home in Argos itself, the seat of an unbrokenMycenaean tradition, since the history of the Rhodian alphabet as determinedby M. Selivanoff'spublicationof early in the Athenische Rhodian inscriptions for1891 leaves no place Mittheilungen for the Argive lambda which appears on the most famous specimen of 'Rhodian' pottery-the Euphorbospinax. I do not considerthe argument a conclusiveone, or even a cogentone, so long as the findsof the Argoliddo not confirm the theoryof a fabricof 'Rhodian' 'riva/ies thereestablishedmust and forcommunisince we allow forthe individualoriginof the artist, cation betweenRhodes and Argos-but this does not affect the positionthat ' the Rhodian' styleis continuouswiththat of the Mycenaean period. The same continuity is to be traced in a class of monumentseven more than pottery, extends indestructible viz. the island gems,whose fabrication over morethan half a millennium-down to the sixth century-and whose (J.H.S. xiii. p. Peloponnesian origin Mr. Evans has recentlydemonstrated 220). But while making due allowance for the historical continuityof of preservation in the case of precious Greek art,as well as forthe possibility thatin reconstructing objects,I cannotagree to the conclusionof Schneider,39 a worksuch as the chest of Kypseloswe must reckonwith the presenceof a long-established industryin the precious metals reaching back into 'Mycenaean' times. There is after all a gap between Mycenaeanart and historical Greek art,not so much in time as in spirit. It is the meritof Brunn40 to have made it clear thatwith all its luxurianceand 'naturalistic' character Mycenaeanart did not containthe elementswhich could alone be became; and what is true of developed into what Greek art afterwards art in its best is still more true of that art in its period Mycenaean decadence. The creationof significant artistictypesand their development was an achievement beyondits powers. It was left for a new art-the art whose beginnings but whose monumentsare chiefly go back to the eighth, of the seventh century B.C. In its earlierperiodthe stock of typeswhich it commandsis limited; theyare borrowedfromthe decorativemetal-work
38 To whichMr. Evans (J.H.S. xiii. 223) adds that ofAsia Minor.
40
1891, pp. 246-249. 39 Sdchs. Berichte, Book I. (1893). Griechische Kunstgesahichte,
45
of the East, and as yet theyservepurelydecorativepurposes. But even in monuments-and forthe purposesof illustrationthe most its mostprimitive valuable of these are the 'buccheri neri' and 'red ware' of Etruria and from Greece the earliest fragmentsof gold-work41 and stamped pottery42 The see selection and modification at work. islands-we and the proper is The art will write its formed. in which Greek story being alphabet the Sphinx, and kindred the Chimaera,the Griffin, Centaur, the Gorgon, without of Oriental types, not the direct influence are figures being created, whichstamp themwitha definitely Greek character, but with modifications and often-as in the case of the Centaur-make them practicallynew is 'paratactic'-i.e. the simplest when attempted, creations. Composition, elements are juxtaposed,as it were,alphabetically. The simplest case is from Eastern models,but a more borrowed that of the animal frieze, directly in &c. The reprethe duel human interest emerges scenes,chariot-races, action is limited the resources of the time; the sentation of mythical by Herakles-an imitation of the Homeric in the Hesiodic Shield of prototype unmistakablestyle of the seventh century-marks the position of Greek art at its time. Apollo and the Muses-the Lapithae and Centaurs-Perseus the duel scenes and the and the Gorgons-together with the hare-hunt, frieze of chariots-tell their own story. But the progressonce begun is rapidly continued. The stock of types increases fast. Mythologymakes its way to the frontnot merelyby the inscriptionof legendarynames on scenes in themselvesindeterminate (e.g. the duel scene of the Euphorbos on the of riders or the pyxis of Chares) but by the most pinax procession to the expression of mythical of less obvious types adaptation ingenious to of the Phoenician silverbowl the stake bound The conceptions. prisoner the becomes iii. Perrot Prometheus, simple 'crouchingfigure' Fig. 543) (cp. case the bird whose ornamental purposeis to fill Polyphemus. In the former the blank space in the circularfieldbecomes the vulture; whena largerfield mustbe filled, the archer is added, now specialized as Herakles. Like the bears a distinctly Hesiodic poetry, the art of the seventh century popular character. The broodof monsters and fabulousbeings (e.g.Geryon, Typhon, of popular folk-lore the &Xto9rypcov and the Harpies)-the figures (Atlas, is with them tales connected (e.g. fromthe Odyssey Prometheus)-the fairy selected that of Polyphemus,(cp. Rohde Der griechische Roman p. 173 n.), while the heroiclegends of the Iliad are less popular),point unmistakably to the source of inspiration. The war waged by the popular heroesHerakles, Theseus, Perseus-on the race of monsters furnishesa large stockof mythical the Hesiodic Theogonyand subjects. The genealogyfrom kindredsourcesprintedby Milchhtifer, der Kunst,p. 155, is a most Anfange instructive documentto thosefamiliarwith the monuments. The earlier of these are too scattered and isolated to permit us to frame very definite theories as to the achievementsof the various art-centres: but Ionia, fertilized constantly by the stream of Oriental influence,and Chalcis, the
41
A.Z. (1884) viii. 1, ix. 1.
42
FromRhodes,Milchhifer, Anfdnge, p. 75.
46
city of bronze, seem to be of cardinal importance.43But when the sixth evidencebefore us becomesfuller, we can century beginsand the monumental which we of art call two schools trace may broadly 'Peloponnesian' distinctly or 'Doric' on the one hand and 'Ionic' (including Chalcidian work)on the are the bronze-reliefs other. The mostcharacteristic productsof the former which of late yearshave been discoveredat Olympia and Dodona, in Attica and Boeotia. Theyare knownas 'Argive'-chiefly because the Argiveform of lambda occurs in the inscriptionax0ov ye'povon one of the Olympian plates-but though this attributionis perhaps uncertain,there is every reason to fix their originin the Peloponnese. To the reasons adduced by vol. xiii. p. 249, it would be easy to add others, Mr. Bather in the Journal, suicide of a the e.g. type familiar with Corinthian vase-painters Ajax, lxvi., Mus. Nap. fragmentof lekythos,Arch. Anzeiger 1891, p. (aryballos, from a Corinthian source by the artistsof the Francois vase), derived 116, occurson the relief fromthe Acropolis(Ath. Mitth.xii. 123, note 3). The whichhe notices,following M. Homolle in -Bull. 'Peloponnesian' proportions are of xiii. the Hell. for theyenable us Corr. 1892, 355, highest importance, to assign to this work its place as a parallel development to earlyDoric to and it into for bring comparison, example, with the Selinus sculpture, itselfto the metopes. This Doric arthas markedcharacteristics. It confines narrow limitsof the square or oblongfield, suggestedby Orientalgold-work, and by its imitation in Greece proper, probably in Corinth itself (though something might be said for tracing the gold band, A. Z. 1884, viii. 1, to Chalcis)-but 'in der Beschrankung zeigt sich der Meister.' Sometimesthe type employed was purely decorative, e.g. the quadriga en face of several of the Selinus metope and the terra-cottain Palermo,also bronze-reliefs, probably from Selinus according to Kekuld (the type is asserted to be Selinus metope, the Chalcidian), the Sphinx of another (newly-discovered) running Gorgon of the Olympia relief,the 'Persian' Artemis. But the triumphof the school is shownin its powerof givingexpression by severe compressionand concentrationto the central motive of a mythological action. Thus the storiesof Ajax and Cassandra,of the ransoming of Hector, of the suicide of Telamonian Ajax-all fromthe tale of Troy-take their place beside the old fairytales of Prometheus and the vulture,and the of Herakles with the Old Man of the Sea-all told with wrestling-match the utmostpregnancy and in the smallestpossiblecompass. 'Ionic' art is of a different order. The small but striking class of Chalcidian vases, and such preciousbut isolatedmonumentsas the Phineus enable us-with the aid of inferencesdrawn fromthe cylix of Wtirzburg hydriaeof Caere and the poros pedimentsof the Acropolisas well as from Etruscan art,whose 'Ionic' character is well known-to form a fairly definite of conception its mostmarkedfeatures. Instead of the metope,we findthe frieze; instead of compression, diffusion;insteadof the severe selection of
'Proto4" It is highly probablethatthe finest corinthian' lekythi proceedfromChalkis (cf.
Die allkorinthische Wilisch, Thonindustrie, p. 11 f.).
47
and lavish detail; instead of a concena broad treatment pregnantmotives, an extended and continuous trated scene framedwith simple ornament, bands. rich ornamental and Perhaps however the most composition found in the substitution be is to artists made advance by Ionic important of 'closed ' for 'open' groups, and the substitutionof a more organic forthe old paratacticcompositions. Most significant combination of figures of animals pass on vases the processions is the factthat while on Corinthian in unbrokenfiles,the Chalcidian or Ionic painter diversifiesthem with combatsbetweenindividualbeasts or groups in whichcattle are devoured by beasts of prey. finddivergences It is naturalthat we should underthese circumstances the two of the same subject by schools. And thatthis in the representation is the case has been shown in the case of Geryon, of Herakles and the on thosescenes), Hydra,of Peleus and Thetis (fordetails see the commentary to whichwe may add Herakles and the Nemean lion (Reisch, Ath. Mlitth. of early xii. 1887, pp. 121ff.)as a speciallymarked instance. The history is evidence more until monumental be written cannot complete; art-types estimate the value of Loschcke's suggestionthat and we cannot therefore such types arose in the Peloponnese in the late Mycenaean period,44 and migratedto Chalcis and Miletus there to be enriched and modified, returnedto find the old formsstereotypedand no longer susceptible of development. A moreindependentdevelopmentin both centres seems to be in accordancewith the factsas faras theyare known. me t-o But it must not be supposed that mutual influenceand borrowingare excluded by our classification. The reverse is most decidedly the case. Influencesfromthe East penetrateto the Peloponnesian workshops. The are the most strictlynative product of that art: yet the bronze-reliefs from the repertoriesof Eastern the ikXto Olympianplate borrows 7ye'powv and a similarrelieffromthe Ptoon apparently introducesthe Ionic artists, of Herakles. The Selinus metopes show Ionic schemeof the Hydra-contest to already,and Malmberg45 influence:the quadriga enface has been referred which be has shownthat the Ionic attitude may illustrated by Micali, Storia 36 (Ionic-Etruscan amphora) and by the Theseus of the 'bucchero' vase fromCorneto(A. Z. 1884, p. 107) occurson anothermetope. Most striking of all is the factthat the second seriesof Corinthian vases-including all the finestvasi a colonnette-i.e. Wilisch's 'Rotthonige Vasen,' are justly pronounced to be under strongChalcidian influence. The Amphiaraos vase Corinthian product. Its must no longer be considereda characteristically it is and related to an Ionic amphorafound is Chalcidian, closely technique in Etruria (Micali, Storia 95, v. infr.). The history, in again,of vase-painting is that of the continuouscrossingof Chalcidian, Attica in the sixth century influences: this is a field which is onlybeginningto Ionic and Corinthian be worked--cp.Holwerda's articleon the 'Corintho-Attic' vases (Jahrbuch
ofKasan, 1890, p. 158. 45 yqeuinaa ncau,University
4'
Boreasund Oreithyia, p. 7.
48
of a similar class underChalcidian influence 1890) and Hauser's determination for1893.46 in the Jahrbuch Granting the correctnessof the foregoingaccount, what does the internalevidence supplied by the typesof the chest of Kypselos enable us to inferas to its date and origin? The followingpropositionsmay be laid down with confidence. are withextremel~ thoseof theart of 600 B.C. (1) The types few exceptions The accompanying restoration is the best evidence of this. The exceptions are mainlythe following:(a) Certain freeand originalcompositions-especiallyin the uppermost band (Hephaestos and the arms,the attendantsand theiroccupations)-also the groupof Helen and Aithra. For the rest the processof reconstruction was that followed by the archaic artistin construction-viz. the selectionof and their transference to new associations (so even the existing types of Medea and marriage Jason). (b) The type of the Ktjp-a not verysuccessfulattemptat innovation -whose significance will be discussedlater. The intoan earlierand latergroup. The first (2) types may be separated consistsof those which occur in the same or very similar form on the Hesiodic 'Aorrvi, Protocorinthian or Melian vases, and 'buccheri' from Etruria, as well as other early monuments. Such are Herakles and the Centaurs, the duel scenes,the 'Persian' Artemis,the groups of Zeus and Alkmene and Menelaos and Helen, as well as other equally simplegroups the combination of ground-types, arisingfrom Apollo and the Muses,Perseus and the Gorgons. To the second group belong the scenes which may be paralleled from Chalcidian and Ionic vases or from developed Corinthian, the Peloponnesian bronze-reliefs.Such are the departureof Amphiaraos, funeral games, the Hydra scene, the Phineus scene, Dike and Adikia, Geryon, Ajax and Kassandra, the judgment of Paris; and withthem are to be classed those remaining scenes for which parallels are not found-owing to the scarcity of early monuments-before the period of developed Attic b.f.vase-painting. In no case havewe tokait for r.f.vase-painting tofurnish a pattern. (3) The artistis not limitedbythe traditionsof a single school. It is most important to make this clear. L6schckeand Milchhofer constructthe following scheme:x
Chest of Kypselos (Doric).

46 The fragments publishedby Mr. Richards in the J.H.S. xiii. P1. XII. are probablynot
Throneof Bathykles (Ionic)

but painted Chalcidian,as Studniczkaasserted, in AthensunderChalcidianinfluence.
49
are part of the 'ererbtes Gut'-of Types common to both,they infer, the old stock beforedifferentiation began. This point of view is no longer tenable, and indeed an advance upon it is foundin such worksas Ldschcke's 'Boreas und Oreithyia.' The true positionof the oftenquoted dissertation chest ofKypselos may be exhibitedas follows:-(a) Composition. Both principles, the 'metope' principle and the in bands II. and IV., the latterin are present-the former 'frieze' principle, indicated this.47 He bands I., III. and V. As long ago as 1881, Furtwangler art decorative knows earliest the 'while only loose, broad friezewrites: and of are the chest these on Kypselos alreadyin the minority, compositions, are confinedto certain places where theyfulfilthe decorativepurposes of continuous bands, while in other parts is unfoldedthat wealth of single scenes whichrepresentin its most pregnantformthe central motive of a frames mythologicalaction: they were probablysurroundedby ornamental like the Argive bronze-reliefs.' This statement needs modification-the does not deduce are not in a minority-and Furtwangler frieze-compositions the consequences as to the originof the chest whichfollowfromit: but it in 1884. In 1890 Schneider(Prolegomena, was a mostvaluable statement p. in that bands II. and IV. must be reconstructed down laid 51 note) definitely continuous the otherthreebands presenting the styleof the 'Argive' reliefs, and nairrow as in and bands V. But he erred friezes. I., III. regarding and off bands to broad intended set the ornamental II. friezes, purely to the principlesof earlyart and to the evidence of IV. This is contrary showed such works as the Frangois vase. Lastly, in 1893 Furtwangler4s bands the view that how the language of Pausanias countenances I. and V. unbrokenby verticalbands (as to III. thereis no question) were continuous, in transitionon those of ornament (pointingto the use ofthe formulaE in 8rzTOD 'ApOCapdo~L vT bands only,and to such a phrase as /META otcav made of the error of I.-and emphasizingthe impossibility the description by Pausanias as to the chariotof Iolaos on any othersupposition).49 by the analysis of the types. It (b) Types. Our positionis reinforced forour purposeto pointto the fact that on the lowest band is sufficient (i.) The departure of Amphiaraos and the funeral games of Pelias closely with a Corinthianvase admittedly correspond painted under strong and with an 'Ionic' amphorafrom Etruria. Chalcidian influence, the is the not the Peloponnesian The of Ionic, type Hydra-scene (ii.) type. (iii.) The type of Phineus, the Boreads and Harpies is unquestionably Ionic, and corresponds exactly to the Wiirzburg cylix. Even in the small scene of Pelops and Oenomaos we meet with a type (winged team) only to be paralleled from the Etruscan 'buccheri' whose fromIonia. For bands III. stock of subjects represents early importations
ofthepoint(Studienzur L6sung(ITist.Phil. Aufs. Cartius 7 Hcktor's 4' Knoll's discussion gewidmet), p. 189. p. 67 note) is Kunst in Griechenland, dltesten 48 Meisterwerke, p. 727 f. quite valueless. E H.S.--VOL. XIV.
50
and V. again Chalcidian parallels suggestthemselves: the nuptialsof Peleus and Thetis form a composition animatedby the Ionic spirit; the Centauromachy is familiar from 'Protocorinthian,'i.e. Chalcidian, art. Broadly speaking, then, the frieze-bandsare Ionic-the metope-bandswith their are Peloponnesian. But even on the parallels from 'Argive' bronze-work latterbands we find the 'closed' types (Boreas and Oreithyia, Peleus and of Ionic their Doric neighbours-and I have Thetis) originintruding among therefore not besitatedto restoreGeryonafterthe Chalcidian patternunder the influence of considerations of space. For the phenomenonthus presented the most instructiveparallel is presented by the Franqois vase, which representsthe work of an Attic painter of the firstorder-but a painter imbued with Ionic tradition. While the spiritof the great friezesis Ionic-while the Centauromachy and the returnof Hephaestos to Olymposaccompaniedby the train of Dionysos and its horse-hoofed 'Ionic' Sileni (so Furtwangler,50 and recently Bulle, Die Silene in der archaischen Knst, 1893, p. 5; note the significantfact that Sileni are absent from the bronze-reliefs, the Corinthian 7rlvarKE,the metopes of Selinus, and, though Dionysos is represented,the chestof Kypselos)show this in a specially marked degree-the square fields of the handles bear a strikingresemblance to the well-known bronze-reliefof 1891, Olympia (see them placed side by side by Schneider,Sdchs. Berichte, p. 208) and include in their decorationsuch a distinctly Peloponnesian of subject as the suicide of Ajax. Moreover, among the frieze-compositions the vase thereare some which Schneidersuccessfully into single decomposes elements,and of these the 'Dreifrauengruppe,'which appears in somewhat monotonousiteration in the procession of the gods, is now shown to be Peloponnesian by the remarkable relief in Count Tyszkiewicz' collection publishedby Frohner(La collection recently Tyszkiewicz (1894) XVI.) as to whose proveniencethe style leaves no doubt whatever. The pursuit of Troilos again, as analysed by Schneider,suggests by its 'paratactic' compositiona Peloponnesian origin-and here we have the vase of Timonidas our supposition. (on whichsee also Schneider,Prolegomena, p. 53) to confirm But on the whole Ionic influencepredominatesin the Frangoisvase : the balance is maintainedmore evenlyon the chest of Kypselos. Loschcke did well to recall the untimely conjectureof Bursian made in 1864 (Ersch und art. 'Griechische Kunst,' p. 404) that the chest was the workof a Griiber, CorinthianartistunderIonic influence, and to show how time had given it a justification whichit did not possess when first hazarded. artist The stands in a direct relation to literature. The factthat the (4) chest is not a mere industrialproduct,but a work of the highestart of its with the presence of metrical inscriptions, would lead us to time,together suppose this,and may well dispense us fromdiscussing-after Luckenbach, Schneider,Loschcke and a host of others-the vexed questionwhether any
50
SatyramsPergamon, p. 23, tracingChalcidianinfluence.
51
Corinthianvase-painterwas acquainted with the literary Epic. The following points may be noted:(a) The artistis acquainted with 'Hesiodic' poetry. The direct proof is given by the factthat in the inscription on band II. 9, "ArXas, oipapv
o OV9 EXeL, ra 68 c'aha
le6r1-et,
he directly 518 parodies Hes. T'heog.

icpaTep' "ATXa9ovpaovvevpvvX Ks
?, t7r' aVdayI In the
of the Kjp. and the same dependencemay be provedforthe figure we read-'Aorlts 'HpalXceov9 249 ff. ' V oS ?apapFeDo-at 6va Kqpeq KvUveat, XhV
TE TE, Safotvol 7' l~rX7roi /8Xo0-vpol Etl&,Woo
1A
v aat i6ap Wt EVTO 83ptv 63oV 7C 77-TTQPr7TCOWV 7 /JuE/uapw7ot 7TtECtl)O 8v 7rpOJTOVlr ye aitZa pe-Xav ' A , f atpt lev 7 wtw'rOrra aV"o) Eov)Taa7-o1, aMEI/-1EVOVl "E eKaTv v X"Xo 4;'vX\8'6AiToo o )3l1 xo ifvXa
bpCvrE E~7' apdeav?To atparos av8pope'ov, TOPv /Lv ptlrTaclcovl waaco aP86' b')a680vIcat ,)(Xov W0lveov aTtqe loaaat.
TE On band IV. 12 we read of a figure 6XovU-a oV Cv r7lPEpo-rTpov 686,vrav w dw K 6' dw' al Ot'Icar ot OvvXgr X E7Tiypa/J4La Xpv LXEPvtoa ~ov d-rticaru) fOptov, No known art-typecorresponds to the words of aVrT' eiva6 feot K^pa. and features of the K?7pdo so exactly. 'Hesiod,' while the function We may now go a step further. The artist shows his familiarity with the group of conceptions embodiedin the Hesiodic Theogonyby introducing many of the monstersof popular demonologywhose genealogy has been to above: in this he followsthe art of his time. But he also shows referred unmistakableacquaintancewith anothergroupof figures only partly represented by early monuments. These are the childrenof Night,who may be orderpresentedin the following
6' Taprapov ~l Kpv6EvO'*at
Nt, OdvaTroI 212 ? 'Twvo 212
(Theog.211 ff.). Kqpê 217 ( Fpav) (225) "Ept 225
Motpat 217
on the chest,it rPipav has been includedbecause, althoughnot represented withthe figure on the Olympian seems probable that it is to be identified No. 699 (Furtwingler, bronze-relief p. 102)-a type adaptedby the artist in and Dike Adikia. The Kqpes have been discussedalready: "Ept9 portraying demanda closerexamination. occurson band IV. 6. The otherfigures shows Fick (Hesiods Gedichte, that the lTheogony is in origin a 1887) in dialect Boeotian a under in by poet poem composed Delphic influence E2
52
strophes of eighteen lines, but including in its present form extensive interpolations. We must then hold these elements apart. Brackets indicate the later portions.
1. SLEEP AND DEATH.
Ial Kqpa phawvav Ie Theog.211, 2. NC' 8' g'1EKe -TrvUyephO at(8) M.pov e 86 X0ov 'Ovelpww. var ov TECe 8"Trv ov, 6`'17Lr 756f. [Theog. peTa Xepoe1, 8'"Trwrvov Oardvroto ao7aiPvr7rov 6 N V\EO o
7\,vefp E" aXV/I LfelaX vPepoep"E-.]
The second passage is from a descriptionof the underworld(720-819) which Fick shows to be a later documentembedded in the Theogony (on linguisticgrounds). But it seems to have been knownto the artist. 2. THE MOIRAI. dyelvaTov X0eowroivovq, ATPOrOVa'Tre /3poro0t EX a caKo T eE]. rE yav" MoDoLoXevt yetvoevotLo not lines are last two The original-though Fick believes themto come Aeolic an from early Epic. They are repeatedwithslightvariationsin vv. of the three Motpat are classed with the'~1pat as daughters 905, 6, where In its the to addition a later Zeus. This too is Theogony. original form, then,that workdid not containthe names of the three Fates. Now it was (cp. Fick, p. 3): at Delphi the probablycomposedunder Delphic influence number theyappear on the chest,in the Moipab were two; and in the dual to in the the passages referred the of Sleep and Death (see neighbourhood detailed commentary). These factsare significant. but of Zeus (v. 902); 3. DIKE is not a child of Night in the Theogony, but she is a prominent figurein Hesiodic poetry(especially in the song of most natural to find Right and Wrong,Fick, pp. 58, 59) and it is therefore her among the select 'mystical' typeswith whichthe artistcommencesthe second band. (b) Relation to Homer may be traced in band IV. 8, where the scene A. But it is notewith Agamemnon, Iphidamas and Koon is taken from worthythat this is the only scene among so many which is certainly derived from either of the great epic poems: and it consists merelyin a duel-scene to which the inscriptionsalone lend a Homeric significance. This is quite in keeping with what we know of the industrial art of the time: except forsuch specialized duel-scenesthere is little borrowing from the Iliad, and where it takes place, moments widely apart are fused into one (as on the oenochoepublished by Frohner, Jahrbuch vii. 1892 Pl. I.with the text is 'contamination' of I and 2) and an exact correspondence of I. reminiscence found. A verbal be ever 557 may traceablein the hardly the II. on which on see 4, commentary. inscription But Pausanias sees a direct case of 'illustration' in the case of the band. It had no inscriptions, but (he says of the first two figures) uppermost Theog.217ff. acl M opa
[Ko9b07'e
c A"XeUV Te Ka
Ica\Kpa
53
pt6pLoTreTr)v 0epa'natvv at' KipKyv e6dBo0~r?o/ev a-ca^ '08vo-o-& evat re yadp al,Kat ro? 'toVLEovOt vr? atvwv* rEo-o-apEV elCtL -rp 70roaTr7)Xalov, aa at r "O rew icatdpyrCovrat elo-tv yvvaiKelv, po epe. dv o The reference is to K 352-359 : .'pya aY17 evtf psyea Opovoot ,aXXerv Xi' brrf $86 brrvepOe KcaO;l7repO', "rop/vpea raojv
'
7'1Ev '3aXXE
t Tl Et Xpv'o-ea tcaveEta t e peeL pova olvov ecKtpva 7) 7ptTr7 ic17T?7p 8vv e'v acpryvppLy, vieI 86XPvo-eCta Kv7reXXa &T rT Jvecaate 8W'p tcal nvwp E'prr E06pet 8' ltaltvero bvrb 7roXXbv 7phroBT0 tEyadX"
n 8' Er7pr) rprpolrapotOe Opo6vwv rTITatLVepa7i-rea?
a 84 apyvpea?, erl
wop.
Loschcke (DorpaterProgrammn , 1880, pp. 5, 6) shows that this is no proof. In every case we have a choice between various schemes,any of which the requiredconditions: the numbermay be purelyaccidental: would satisfy the scene was nota cave, but the OdXao, of Circe (K 340). Nor does the suggestedby Pausanias following scene-granting that the interpretation of the armour with Achilles) is the true one(Nereids, Thetis,Hephaestus : ff. Finally, the so-called 145 to of with accuracy any degree correspond left L*schcke mule-car-which Nausicaa in the untouched-has yieldedto the offigures one now we solventof long frieze recognize leading criticism5--and of Peleus the and Thetis are where Pelion to the cave on Mt. nuptials being celebrated. The analogy of the Frangoisvase suggestsitself at once. (c) We can no longertrace the relationsof the artiststo the lost epics. a fewsubjects-Peleus and Thetis,Judgmentof The Trojan cyclefurnishes Paris, Achilles and Memnon,Menelaos and Helen, Ajax and Cassandra-the Thebais providesthe departureof Amphiaraosand the duel of Eteokles and Polyneikes-while from the Argonautic legend, treated apparentlywith fulnessand freedom by the Corinthianpoet Eumelos52(Wilisch, Fragmente des EpikersEumelos,esp. p. 19) are drawnthe funeral games of Pelias, the Phineus scene,the marriageof Medea and Jason. (For the daOXa drt' IleXia and reff.) But it is impossibleto lay down any proposition see commentary in detail as to the relationsbetween these worksand the chest. For the date of the monument it must be observed as a significant fact that lyricinfluenceis not present,e.g. that of Stesichoros. It is just possible that Alkman may be the source of IV. 7-though our restoration presupposesthe contrary. The issue of our investigationsis to prove that the chest is a workof the workof an artist standing above the earlydecades of the sixthcentury, and of his time schools various the blending their diverse elementsin a
51 Klein, Kypsele der Kypseliden, p. 64. Sagenkreis, p. 73, demurs. Schneider,Troischer 52 What Maass means by the statementin Anzeigen1890, p. 383, that the Gott.Gelehrte was 'zugleich die ' Hesiodic' Euphemos ? oAI' aus dem sechsten ilteste Argonautendichtung, is quite unintelligible. Jahrhundert,'
54
harmonious and composition-ofan artistacquainted with the epic literature of the earliest the workers in No influenced doubt sculpture. technique by of the pottery and metal-work he surpassedin technicalabilitythe producers preservedto us: but we cannot estimatehis merits. We cannoteven determine with certaintythe nature of the technical proceedingsemployed; the open-workbronzeplate from and Collignon,comparing Crete Milchhofer hunter the with the wild der Kunst, p. 165), goat (Anfdnge representing in the ' Daedalid' technique of inlaying: regard the chest as constructed of the typesto earlygold and bronzereliefs,53 buttheclose correspondence and the existenceof relief-work in ivory(e.g. the situla of Chiusi,M. d. I. x. 39a according -cp. M. d. I. vi 46), as well as the factthat some of the figures, a most to Pausanias, were wroughtin the cedar-woodof the chest itself, seem to show that the scenes were unsuitablematerialforsuch treatment, in low relief. represented Nor can we determinewith certaintythe question as to the artistic the workas a whole and governed the conceptionwhichmay have dominated dispositionof the scenes. On such a question it is best to hear one whose capacity for entering into the spirit of early art is unequalled (Brunn, willnever i. 176) and to admitwith him that a detailedproof Kunstgeschichte, be possible. About half a centurylater than the date asssignable to the chest, Bathyklesof Magnesia reproduced manyof the same typeson the throne of the AmyclaeanApollo. To reconstruct that workfrom the equally fullbut more obscuredescription of Pausanias in the styleof 'new Ionic' and Attic has indicateda 'possiblesolution, but art,is a problemof whichFurtwiingler which it must be leftto othersto attack.
6.
PAUSANIAS
V. 17,
5-v. 19 FIN.
I owe to the kindness of MM. du Rieu and de Vries, librarian and keeper of the MSS. at Leydeni,an exact collation of the MS. known as Leidensis A forthis passage, and have given its variants throughout. The readings of other MSS., where given,are quoted fromSchubart and Walz' edition.
7rErolrlat,
7t abrvil elpyaoep eo~71v vla 7c9Kpov. 5 dE 7Taiv77v 7;v XapvaKa KvIeXov rvpavvljo-ara arwET7O1 Kop/vOov ICpuV#eV 37 /7'77p, 37licKa TEXOEZva avevpeLt aVTOJ a0-wrov8v 7roovrto VO
itself. In this chest Kypselosthe tyrant of Corinth was hiddenby his mother, when at his birth the Bacchiadae of soughtto findhim. In memory his 8\q Kypselos' BaKXLcSaL. r deliverance, 79 /.P house, o-wr?7ptway
3 Whose on to a woodenbackground. purposewas to be riveted
aV Ta A86 Ta BA 6' figures,some ofivory,some ofgold, q(, ical XplroV, and some of the cedar-wood
v. 17, ? 5 ....
and uponit are wrought &a 8' ~XE avro9 65r' cedar-wood,
Xapva4 K~B'pov pev
.. . there is a chest made of
55
10 elvelca70OiKvyreov 7b a7r' abvrov called the Kypselidai,dedicatedthe q ot ovoatopeJvo KvyEfeX8aI chest at O]ympia; now in those 7yov dE 'OXvtprilav avedays the Corinthianscalled chests r;'v Xadpvaa Ta9 8 '( vfXaLt,' and hence,theysay,the To-re OEo-avXadpvalca ot child receivedthe name of Kypselos. a'ro ddXovv KopivOtoto 15 Tovrov 8E 'voa cvfrCXa. Most of the figureswrought 6. Kt#eXov 0 ? a't on chest have inscriptions the in 6. 7r(v vrat& 8Oro-atXoovo-v. ? l 7 Xadpvay archaic and some of characters; derypd paLra 8E in a these 70T TroL EVrrEorTL rrXheloot proceed straight line, ypalpac-th while others have the formwhich E apXalov ycypappreva- Iat a [pev 20 eVOvavbTcv lEXEL, o-xqtXara 8AaXXa the Greeks call 'fpovo-rporlGS6v.' 8ovo-Tpo- This means that the second line Trov <drrm> ypattuadrw1v b8tov KaXovO-tv "EXXvrlev. To 86 turns backward from the end of ar oTL 70Loov8e70TD the firstas it were in the double 0Taroy 7riparo E7TOV9 ErtTpCObt on the o d'rov 7(1EWCOI) 7TO race-course: the inscriptions 25 8eTrepov coo-Trep 8av'Xov are written with chest, moreover, Ev 8pb6[p. T to be &c hard understood. r Xapvalct Kcat windings y5ypa7rr-at Er' aXXwo Ta\ dErtypIppara EXhtyuoh9
crvpaaX6"rOatXaXerro-K.
1. 1 lacunam statuitBekkerus--Xdpva?&8 KEcpovLa Vb.; 1. 9 8aKLxi'at La. teste de Vries; codd.; 11.15, 16 TrW-atL8' K1 eXovLa; 1.16 X5eovo-tv 1. 17 codd.,corr.Coraes; 1. 21 rypappdroTv codd.,correxi; 11. 27, drrtypatpudriw codd. 28, aXXov(, Atypoobv, La) XaXerro'v (AXyptobv XaXefr orvtpaJdXeaOat corr.Siebelis. If we begin our examinationFIHSTBAND. paphaJvp C avaao-roetoa-Oat from 7T etri below, the followingsubjects XapvaxoKq KxarOevJ roca-~' are 7. 7 presented by the first band. 7rapXeraet Xopa. ? wprPwrr6 There is Oenomaos pursuingi. Oenomaos 7. Olvo/taoq 8'oKeov IIXowd dartv ? 5 Xovra pv Pelops, who has with him Hippo- Pelops. EKa7Tepa) '17r8roapFetav" 9 8\ 8v/o eV 86 damia; each drivesa pair of horses, avrU3v 7trrrrot, 70r -r0 IIXow b deort reKoTra Kalt and those of Pelops are winged. 4i7 ) 7rTepd. 'Abt apdov 7rei Next in order is representedthe 2. Departure woman (whoever she be) is carry8e 7), oltKda 'Eptov'Xr rv\v ing the child Amphilochos: and rpo oppov 'eovo-a '-Tar7KE, 7rapa 8& before the house stands Eriphyle at Ovyarepe9 Ebpv8~icK Kat holding the necklace, and beside aVr;)v Aldovaa-a-a, Kal 'AXcaaiwvvrrata her her daughters Eurydike and 15 6 986 70T Demonassa, and a naked boy, ? 8. "Aatoq yvlpv~. o Kat AXKrIvrv Ov- Alkmaeon. ? 8. Now Asios in his E7T?eaot eTrolo'e rya7rpa'Apbtapdov icat 'Epupv'Xfl poems representsAlkmene also as elvat. T4 the daughter of Amphiaraos and B6drTv 8 , O7vtLOXEti b rC rTe Eriphyle. And Baton, who is 7Trv 'Alptapda, vwia,
10
OtKla
Kal 'A rre7rotlrat, doxov Epet lV?7rtov7peo-/36cVTtq 7rT 1
house of Amphiaraos, and an old Amphiaraos.
56 20
Amphiaraos' charioteer,holds the PZ ' eX i'rowwv ,?al 7rj Xepl ea7 &67, rov reins in one hand and a lance in 'Apptapda8\ X,6yyX. .Pv l)E7 T3E3?KE) the other. And Amphiaraos has qjS7 70oD apaTroq, 7toyl)v l already planted one foot on the 70 ?i(o o ~e XEt 7vppub, Kat d 7r 3aTr\v v chariot,and has his sword drawn: 'Eptv'X 7ro-'rpa/peqvoq and he is turnedtowardsEriphyle 25 7Te 7rro T Ovikoî, Day6?aope)6 with anger,so 80oEK deIlv3 av and is beside himself <)ar7e p6Xtq> 3. Funeral 9. 86\ that he seems able to keep arxoo-X'-Oat. ? Per 70To scarcely 3 games of , c his off her. hands Pelias. , , , ? 9. Next to 'Apqtapdov 7Tv owtav eTIV aya 0E roV the of Hex'a Ka' house Amphiaraos come the 0ol Eo1oeLevoI, ' I (a) Herakles. 30 cyoeza7. funeral e7rropl-raL HpaiCX7" games of Pelias and the 'T El Opov ) Kcaltt/E1oJS,Kat 07'to(ev spectators. Herakles is represented, seated on a throne, and behindhim 71ri ryvvatKcl0 uyvi7 avrov" "ra-rT is a woman: this woman has no L/Z arre0rG-tlv t77-1S E07t, d7Il"ypap/La v to tell who she is, but JDpvyiots' avXeticat obX 'EXXq- inscription (b) Chariot- 35 PtKo09 azbXo'9. she is playing,not on a Greek,but 7IvtOXOfvrVE18'Vv8 on a Phrygian flute. Two-horse rplS8a HIIo-6I6leHptpovq or-tv rov, chariotsare drivenby Pisos the son cal 'AaOepiov Kotv 7TXv-D'at 'ApyooS, of Perieresand Asterionthe son of 05ro7-9 r-i"ASp,,7ro9, Kcat redrca'O oct IHoXWvSd~, Xeyo/vo0 Kometes, who is also said to have 40 v69 sailed in the Argo, and Polydeukes Ei' ypolo, HO0-et&2 aivro'9 & icara 7TO 77 7E )v 7rgr0t?-O)v \rS Xdyov and Admetos, and after them Katl 'IaovL E(K6XXov9 700 D7Xol Euphemos,who as the poets relate was the son of Poseidon and acOVTO7 SeKalt 77 Cvow)LET-uEX?7Kc* 'G 'v. pL t VtICKvd companied Jason on his voyage: and he is the victorin the chariotrace. (c) Boxers. 45 ? 10. ol e a7 orErOX/L4iKore ? 10. Those who have ventured 7TVIKTVEt "AStyro 0ai Md6,ov to box are Admetosand Mopsus the 6 "AmWv/co9. e) /Lea0) o 8e eT7tv son of Ampyx. And betweenthem $\ rc a E07-7KOs)eav rravXe,t Kcal- stands a man who plays the flute, avv vwil7p O7T Kcal 4e) iOV just as the custom now is to play rtL aNa7rt X 50 abXlelv Tr)ov r'30'$ o 7, Vopv the flute at the leaping-contest ovoevtY. in row77EVrdOXo v0lu'0v0Lv. (4) Wrestlers. (S Katc HXeT the And Jason and 771? pentathlon. 'Idao-ovt 0b e'pyol Peleus are evenly matched in the Lo0ov lcaOE-lIcE. rraXl9 dE rTErro0lVa E a (c) Discus&o Ka r aitov, EL wrestling-match. And Eurybotas 8e loTa Evpv Tat 7 too is representedin the act of OUTOI EWr (t0-C0 throwe. O0"7T-t9 0"7-TtV 01 S' dE ActltXXai X Ow. (f) Runners. 55 k y17, throwingthe discus-whoever he 8po6pov KaOeo-Tr7core9 MekavL'ow may be that had this reputation for iKa oTt71 quoit-throwing.Those who have NeoOebv cKat \PaXape;v, 7r7ap7ro- 8 'Apye'o Kcal\ "ISbticXo,entered for the foot-raceare Me8e OVTo 7rrELTr7T0 O lanion,Neotheus,Phalareus,Argeios VtK)cot Opye 60 Vbiv Et) S' av and lastlyIphiklos; he is the victor (g) Akastos. 6"Altao-7ocr orTebavov d p SIIpwreo-rtXov 7rarT or-par- and Akastos is handing him the 70oT (h) Prizes. 11. crown: this Akastos is no doubt edvOav7rodE"IXtov. ? /cet Tat ( Icat rpl7roS6e, tOka84 the father of Protesilauswhojoined 70o9 vtCGo-rt,
57
al HellXov 7TO the expedition to Ilium. And (i) Daughters v Iat Ovardpep eL0cLv of Akastos. of Akastos. 65 8 6'votadtr7? 'AXKc7rtLL 7eyparr- tripods are set as prizes for the raL goly. 'I Xaol 8e, 8k eOXeov-r\winners; and thereare thedaughters 4. Herakles of but Alkestisonlyhas her and the e To Pelias, ev rtue 'HpaKXEtrv )'pyO, v /LETrEXEZ dereTv v. (0Pav~pvov evo Vic. 'wwwov Hydra. name written. And Iolaos, who of aiappaTt avypy? o' &8 \a7r de7rt his freewill shared in the labours pe Lr7oyv TO\TOVt* 70 HlXia rreravTrat, with 7'riv pav 8 , b7 of Herakles,has won a victory his this and team. At chariot el 7 oraUa) 7T 'A0LyU&'wy yptiov, to the come of Pelias Tt 'AOqlvanrape'o- point games 'HpaKXEL TO?evo \ an and monster the 86 7KcEV' aTE hydra-the 'HpaKXEov6 wovo9 end, ovKic AmymoneaTyvaorov rofi re iOXov Xydptvwhichlivedin theriver TO OVOIka oivK is being shot with arrowsby Hera75 IaErLt' 7T o0,X-LaTt, -artv ODPvev1kles, beside whom stands Athena. 5. Phineus, er7'aVT7-yeypappIevov. 8 ol r OP p a ca, 01 And as Herakles is easily known by Boreasand E E7, 8p \,a'orat 01r BTE 0o watv9o aw' Ta a'ro)V the nature of the contest and his Harpies. 'Apwviag Bop'ov equipment, his name is not inscribed. And there is Phineus the Thracian, and the sons of Boreas chasing the Harpies away from him.
icovocr. &W,
1. 1, raoa & La; 1. 8, re 'Ap/.. La, 8' Va; 1. 8, habet ' L a, teste 'Ap. codd. mell.; 1. 11, de Vries; 1. 10, rrpeoa-,'rt pvov'X ZLa,teste de Vries; om. La (additur in 1. 15, at'Ttoocodd.; 1. 17, dpvadvXqj La; 1. 21, XAXyqv La; 1. 23, 8' om. La, om. -r Siebelis; 1. 24, 6pvcdXrlv marg.); 1 22, 7rt8&wv nos Kuhnii rationem La, rto-r7p. La; 1. 26, lacunam alii aliter expleuerunt, codd. (Veao-rtLa, r'WretL Va) corr. paullum mutauimnus;1. 33, vrreortv Siebelis; 1. 43, pereXr7lcj1 La. 1. 55, La; 1. 57, veoOl" La; 1. 66, iltpXXav La. La; 1. 71, uvy om. La ; 1. 68, Aavr 7prvov aalvupY NOMINUM PROPRIORUM formae notabiliores ex picturis uascularibus Corinthiisrestitutae; 1. 8, et saep. 'AcWtdpqo M.d.L. x. 4; 1. 14, AapoFadvaoa Mi.d.I.iii. 46; M.d.I. x. 4 (cf. r]pd6vaoa Va, nrl8qpvao-a Fab). 1. 66, FtodXaFo9 A.Z. ix. 1. 78, fortasse 1887, 'Apervla 1. 70, i'6pav] rtL o0ro70 Tlv u8pav 7rpov r^ 'A~lupuvyry SCHOLIUM. orl-r A7 pvy (Hermes xxix. 148). Xher7Wv yevio-0at,d~XXhowv rp rwpb V. 18, 1. 7r XOpaq 81E rrt'7 c apto-Trep& Xpvapat 7r?7 evr7epaqif a T) rr-ptoSv. p pX77 lePVl/totro av (1) wrrcroilrat yvvr 8 rrasa Xtv5 IcKOIcaOeV"ovTa avExovo-a 71q 8S6 i 3 'rP l ,Xava 't aa V. 18, 1. In examining thesecond SECOND field on the chest, we naturally BAND. make the circuitfrom leftto right. woman is A (1) represented sup- 1. Night, and a child on her Death porting Sleep. sleeping 'j right arm,and on her left a black child like one that sleeps; both 1caOeev0ve7t EocrOTa, a/pJor7Epovs V . have their feet turned outwards. af 7r1) yh7Xoi 70i Ste'rpappVLEov
58
cveivat e The inscriptions show-though it is /.v 'j Ta E7rtypayppaara, 10 cat to the scenewith7 comprehend easy OJv 6'o'rt, a\E'v "7"WtypappadwV edvarov 7e elvat a-Oa KaL"rrTwov, out them-that theyare Death and Kat a'ro? 7Tpo- Sleep, and that she who nurses apqore'pot9NcKTra themis Night. 0o1v. 2. Dikeand e (2) ? 2. There is a beautiful CryvvatKa (2) ? 2. eyvrg7 e8e8et49 Adikia. 15 alto-pav roXldovaa, woman 7^ KaT chastisinga hideous one; pu with one hand she gripsher throat, av7v 7p pa/p3 &T 7radyXovo-a with the othershe beats her witha 'A tlicav ralovo-a, tArK ra7ra rod. E'TrL. They are Justice and In8p&oad justice. t 3. The Fates. (3) Two otherwomenare pound(3) 86o0 8eiXXa yvrcvatK da 20 KaOtKVOuvva9 bV7rrepot9, dap- ing with pestles in mortars: they Ae'X/ov, are supposed to be skilledin poisons, e ltara el~~~vat cO-ab vo~/i0ovctv, "er for there is no attached ov8ev avra7 Eo-rtv 7rtLinscription aXX, d.E to them. ypa/qula. 4. Idas and "q T'v (4) vpa (4) The storyofthe man and the 8t6 d3 ,yva \ra t Kalt Marpessa.25 vairca Tr woman that followshim is told by wroaevriv r, 'Trr 8~, Tr Eaipepa' Xd/et yp387 o7 70V" the hexameter lines,which run as aiv follows:--'Idas leads back again "I8a Midpwrryoav KaXXhLcpvpov, FoL 'A7r6XXaov Marpessa of the fair ankles, whom oX K stolefromhim,the daughter ap7rao-E,ravEvavov cytes Apollo 7radhv 30 of Euenos, nothingloth.' ?tFlKovo-av.. 5. Zeusand ? 3. x~t(Ova 86\dEVK\v (5) (5) ? 3. A man clad in a tunic Alkmene. avp 71 %.h fe3EL holds a cup in one hand and a neck^ KVXLea, 7 y aP?7 TT/U 86 lace in the other,and Alkmene is eXWoverv op/tpov, XaLp/3.verat a'AXV7C&)V 8 E\ lc rE7rOl77at taking hold of them. The Greek 35 70v X''yo <v7rr0> 7T)v EXXIvowvpoets have told how Zeus knew 9 C-vy77EvoIro Zeb 'A b/t- Alkmene in the form of Amphi'AXic,t)vr tryon. 7rpVt ELCKao-Oel.v.. 6. Menelaos 6& O<paid TE6 v8(6) MeveXao8 (6) Menelaos clad in a tunic,and and Helen. i WE Ivic) holding a sword, advances upon or a 40 'EXerv?v Helen to slay her-plainly at the aXtlcoatWroKTeivaat,8r7Xa av fall of Ilium. p/ef9 JIlov. 7. Aphrodite, l8 d7r t OpOvovKcaOy(7) My&eia (7) Medea is seated on a throne 8 Jason. /5fl7 Medea, 'Ido-a)V E with Jason on 6.FL,7r 'Aepo- the other side her right,while on stands Aphrodite: 8I7r7 7rapeo-rylKce ry'pa7rrats Icat 45 d7lypappla drr' and there is the following inscripaVb7"oL M'8etLav'Idwa'av7aleL, KETe8aL a8' tion overthem: ' Jason wedsMedea 'A bpolrTa. at Aphrodite's behest.' 8. Apollo and 8 4. vKal (8) ? 7re7rolyI?7vat (8) ? 4. The Muses are repreMuses. at Moicat cat 'Arr6XxovE'ap- sented singing and Apollo leading 50 XP 65 ccow 7T% 08' Katl 7ri4- the song; and theyhave an inscription written: 'This is Leto's son, a /YEypa7rTat" y/pag/ Aaro"ia9 ovro6 rya Fvay FEcad- King Apollo that smitesfrom afar; and about him are the Muses, a FEpyos'ArweXXov
THE CHEST OF KYPSELOS. Moio-at 8' apb' avbov, XapilFtv goodly choir,whomhe leads.'
oo Xopo9, alaot IcaTapxet. I IV t ~ (9) "ATXa8 E
59
60O 7
the sword who approaches Atlas has no inscription to tell his name, but it is manifestto all that he is And over these is Taq 'HpacK~a elvat. yeypawr-ra Herakles. written: ' This is Atlas who upholds 8c Kat E`7T rTOVTO*L 3TTl rodTo the heaven,but the apples he shall 65 "ATXaqovpavovoVoq eXe,3 a rt yaXa give up.' yel'E.O-eL. t "Apq and E'o-rt &UKa8 wrXa (10) ? 5. There is Ares clad in 10. Ares (10) ? 5. Aphrodite. Ev&eaviKcS,'A5po8irjv aywov-eLi- armour, leading Aphrodite: and his name, Enyalios, is inscribed. ypaupla 8 'EvvaXtLsE' TtV av7-o. & cKa t ETtSrwap70 (11) The virginThetis is repre- 11. Peleus (11) wEwobptr?
Ko icat dElTv "ArXaVra dpXoEV r'E av7-T yeypa/tJaI -LL & lwavecTTv oviov, SoXa oe /LLvoV eoq
and on his shoulders 9. Atlas Vkc7 (9) Atlas supports poV Herakles. heaven and to the according earth, 7 cKaTa vT Xeyotpeva ovpavdv T aveXeL Kal yv, opet & IcaL Ta 'Eo--repLcwv legend,and he also bears the apples o oeXwv of the Hesperids. The man with âiXa, OcTTt8e eO TLV avp f
and from the arm of Thetis a snake 6 dartsat Peleus. oplwv. 'o-TV ofMedusa pursue 12. Gorgons (12) at ~B ' deat MeGov'o-,? (12) The sisters and Perseus. Perseus: 75 eXovo-at7 rTepah have they wings and he is Wroyevov IHepo-'a &w\ ro ovoyat ETeL ) EL\tL 87 &'vopa TE flying: and Perseus' name only is inscribed. Ilepo-etyeypawrat ov).
OEvoq, hapu3dverat 8e av'-r7 HqXei'sq, sented, and Peleus is seizing her:
and Thetis.
HVIIxa 7rr70)
\ ' \
i. 1, ~rl 7' Xapralc La; 1. 15, KcoL~ovov-acodd. KoXadovoa Robert codd.aliquot; 1. 28, et saep. (tentauitSchubart); 1. 27, "18a La, Mdprnoo-oav Kic 1. codd. restitui, 29, vaoi3 Ei'avoD Frohner (Mus. La; digamma wdo'Xov Rhen. xlvii. 1892, p. 291), ceteras vv. dd. coniecturas referre superuacaneum; T v uix sana uidentur' Xodyov wrXtva7tetcodd.; 1. 35, '' robv 'EXXvwov Schubart, Praef. xxi., <7rr\> suppleui; 1. 46, M48eav Fick; 1. 52, oV-o adX' iva? codd., corr. Hauptius (Opusc. iii. 466); 1. 60, o post cal codd., La teste de Vries. deleuit Coraes, edpXo~ eov La; 1. 66, )ua6Xa uaO2o'-e 7t T' 7pCir BAND. ? 6. On the third field of the TmIRD chest are of warriors: most F ?ro0X troops b/v Xdpa 7T XdapvaKcos" E avro? Ot1 WEO\l, but knights eto-ve wrErolyvat of them are footmen, Ka e7TL are representedtoo with two-horse cal oviopl82oy LrretslS. El ToL o-rparrOral e a chariots. And one may inferthat E-cTtVLle'wewv 0-/a d aS o-vvtevat oP are marching to battle, ' ' pY, oTVLt- the warriors e TE Kca but that they will recognize and vat iKcat aorao-oLtevove avayvopwoDvraV a? XXqXovw. XEyeTat greet each other. Contrary ex8ecat e a ofd'repa urw 70T7v Ei7y77- planations are given by the inter10 roV, Ia'l 70ro jLPvE-TV eqppLEvovpreters. Some have said thatthey 'OfXov Ical are the Aetolians who came with Ai7ToXoIvTroV1LtETar
? 6. o-parow~tch a E
60
To ePlvl 8e -rap8 0-0a,, 71oVe 15
apxF7 iatevo)av Kal 'HXe atol

apXalov9, war-v-Oxylos and the Eleans of old time, and that theyare meetingand call701 )O 7e FL1V)ILpy
20
25
30
35
40
ing to mind their old kinshipand towards each ovv-tvatc faotv showing goodwill the that others, other; troops are llvXiov de a~Oyva rd r'TparttO7Ttc, that and battle 8 elvat Kal 'ApKc8av Dav theyare the joining 7T'e 7rapae and the of men Arcadians 1Ka Pylos w7rTalov uaxoocJvovl w'dtLv the beside 8 who 7. cityof Pheia fought ov 'Idp8avov. ? TarTa tav 8q\ lardanos. river the and (09 ? 7. Now 70TO apxv aro&?atTo Lv T7L, the idea to entertain it is impossible -rpoyovoq KvlwtrXov Te rOE KopIlVeOd of ancestor that the at all av) 7 ro0o1v/evo9 Kal 7Tv XapvaKa Kypselos, KE71),a, or6o-a FLhVKoptvOioi 9() being a Corinthianand causing the chest to be made forhim as an heireK( iE7XpLta, 8 repef3awvevrl, re Ktal ov& laXX r(Kcovra e evLEc K loom, deliberatelypassed over the stories of his native place, and 86~3av, ErEXVaTro E77lt 7 XapvaKtL on the chest caused to be portrayed 7aVTa av7) PEoV70 "LOt rapor7a7To tales, and those of no great 70o9 rpoyoeiKcteLv. Kv*4-X KIcal foreign o)t( dE? FovoVov-7 ( v 7evo9 E fame. But I was led to make the conjecture. Kypselosand apxq, T,bT9rp IKcvo(,, Kat rrpdo-following tracedtheirultimate his forefathers MEXa 7~v 'Av'rdo-ov. d6 oJa(fL0 70ovd0 to above Sikyonand Gonussa aV)T' MiEXava 8. KCaL origin ? 8 T71) o'bv Melas the son of Ta their ancestor was 7 zLOLt poeLtprlvCua orpa7ro rca7ra 79 laK vvyypa Ooc Antasos. ? 8. Now Aletes, as I Kal iv Koppi i i0eXev'AXrjry o 1vvol0ov(8&fao-at, have beforerelated in myaccount e e of Corinthian history,would not ot I./av7ev/La dic xE yE70ovo0 ta a7de receive Melas and his armyto dwell 00op evo 8 Gpara7E rrdao-y) with MEXava him, beingsuspiciousbyreason Kait 07r7E a7EXp(pLepov an of which he had from oracle Xao-0el' ob v 8eo-etdr7ravdtvEra altot E' a70ro until Melas Kcat Ko)'AX?7v. by his constant 70oTO70Delphi, av 7T o-rpa7rtO7Lrtc returning again with en7rt attention, 7EKcalporLo e7rt as treaties often as he was rejected, etpyaopLevov9 T70ov T'7 XapvaK& elvat. induced Aletes to receive him, though unwilling. These are the troops which, as one would infer, are represented on the chest.
01 8 a aXX.Xoovs,
pEv8e6KovLE1vov0
La ; 1. 17, OeiytdXetav La et sic fere cett. 1. 11, (dXovLa; 1. 12, da-ra'ri-v 1. codd. etavhy 18, coll. H 134-5; La; 1. 29, locus Heyne paXov/e"vovcodd. 8E (uel corruptus. Vrpoydro1V EVro1V dK 7v'V8-E-K~cTo &8La) 7v 7'vyeo i Schubartii restitutionem secuti apX99 7yovo0o07 (uel 8d JppXyovodo17). 1. 1. 1. 34, 35, 'OeXevLa; sumus; 38, Xputevov rcal z/eXava o-vypao La; codd. plurimi.
FOURTH BAND.
1. Boreas and Oreithyia.
On the fourthfield, as we make (1) v. 19, 1. 7E7apra 86 dErM 7r e4 the circuit from left to right, is apvalct 7rrEpEovT7e apo7pa" who carried has off OreiBopha9 E0r7)irprraio 'Sipe6Ovtav. Boreas,

5 avT"o.
61
thyia: he has snakes' tails instead of feet. (2) iKat 'HpaKxcovo 5 7rp FIPpv6(2) And there is the contest of 2. Herakles 8E V77) <E-TiV> a'wyo' 7pets av83pe9 whois repre- and Geryon. Herakles withGeryon, sented with the bodies of threemen olv Tpoo-PXFrpvoluJ E aXXOXoL, .peuoL. joined together. 10 (3) Ono-ebq8e e Xzpa Ka (3) And there is Theseus with a 3. Theseus 'Xw, ,v lyre and beside him Ariadne holding and Ariadne. 7rap' av7ov 'Aptd8vy "caareov-ct Eo-7L 7TEaoavov. a crown. e a& (4) 'AXtXXEt' ME/oLv (4) Achilles and Memnon are 4. Achilles and beside them standand Memnon. at fighting, p.yaXoi.uvo~s 7rapea-r'lcaa'tl 15 TEPE'. their mothers. (5) ? 2. o-72 & Kact MeXavilov, (5) ? 2. And there is Melanion, 5. Melanion
ovipate
b0 obE o E aTT70&W E~oVo
fawn. (6) Ajax is engaged in single 6. Ajaxand ovolaxoovTro, 20 Topo KaTa combat with Hector in pursuance Hector. 7TV TpcKX?70-Lt VPETav) of his and betweenthem EoT7I7Kc avTcou "EptSalo-XiàTr challenge, Tbo Tca\ KaXXt- standsEris hideousto look on: like e80s-odoEQLUvLa 7a7ry 8t z dLoS' c2v LepW UOI 7T, her is the figure of Eris which 'ApTto01o', 7TV 'EoEaclaS dErolyoev"Epwt, -xrv Kalliphon the Samian painted in . 25 ypd'fav 7V drVl Tati,vauov 'EXXi- the temple of Artemisat Ephesus when he painted the battle of the Greeks at the ships. (7) eloa SE 7rtr (7) The Dioscuri are represented7. Dioscuri, 7T~ XapuaKt Ata'KovpoQ, 0 ETEPOQ OVK d'ywV 70W on the chest; one of them is beardHelen, vesa,l/tEa 8E a -Wv'EX . ? 3. less. And between themis Helen. Aithra. yE 8 7 ILTTE& brb' :30 7~ rT cEX/ 'E ? 3. And Aithra the daughter of A''pa 7o-V Pittheus is lying on the groundat T70oi~T E'&apo& lcaTa/3E3XE. Helen's clothed in black raifeet, p.LVy .LeXatva eXovo-d doeTt Eao-ti-a. ' \ ' &8e a7-ro TE V E7ro The ment. .. inscriptionwhich be7rtlypapxa ' eoTv eJ Ktal to them consistsof one hexaEaClJETpo, longs .y.ovo.aSLa 57 W 7 t( 7e meter a singlewordadded: with a/.rp7 line, 35 rpoao7.icKy of Tvv8apl8a 'EXvai dlepE-Tov, 'The sons Tyndarusare bearing A'O- Helen v pai 7' 'Ad8va~aE away, and draggingAithra EXKETQV. from Aphidna.' V 8\ ro (8) 4. TOVDTO ILE (8) ? 4. Such is the verse; and 8. Agamern40 &e Iphidamas the son of Antenorlies non W and Koon. 'I6cdtaLayToS OiTO irEoirrat, with dead, whileAgamemnon 701o'AVrVopo IKEeLEVoV u/ov paXdovo fights -po tvoza b7repav7ov Kobwv Koon over his body. And Panic is 'Aya. 70 'AYaCtseen on Agamemnon's (OT71. D6~0o,0 8\' dr TO shield,having 'Tret7rLV, vovo EXo) 7T7" a lion's head. The inscriptions TLyo-76LE are, 45 K~caXhq7X oVrov. dn-Ly/pd'I.aTa a8 overthe corpseofIphidamas, 'This /EV 70To 'I bt8LaroVTo is Iphidamas, Koon is fighting for bV7rp ?VEKpoV" Fo ya, Kd oLbPrd, 7repp- him,' and on Agamemnon'sshield, .Fht&4La'L &pvaraL avoTO 'This is the Panic that seizes men, Al'avTr'Eic-
Ka 'ATaXaVTry ?nrap' aVTV 4X6 ov ve ppdpv. & (6)
'xovo-a
and beside him Atalante holding a and Atalanta.
62
oVE FE ! 0VoT'ow

\ ? \
5 d/3or Edof3porov, 8' XOv 'Arape'pvwv. 9. Judgment ,cal 7 7rap (9) ? 5. And Hermes is leading (9) ? 5. Catg s'Epct ofParis. theson 'AXc'av8pov Tr'VIIptLdov rhT Oe~ the goddessesto Alexandros, trial of to the of 701) Priam, beauty. XXdov'v bVr? p o KpLtOoop0lEvav 7 55 Kal Kal TO7VO7L? They too have an inscription:E7tLV rrypa.pp~a 'Eppela 058' 'AXcazdvpq e8ve'K)V7L'This is Hermes who shows to Alexandros for trial of beauty Stat77lY Hera and Athene and Aphrodite.' sKat r T70 Fel8eov "HpaVa' 'AOlvav 'Aipo8&7av. 10. Artemis. 60 (10) And Artemis-for what (10) 'ApTePLt o86 0 vT o3ola r6' I know not-has wings on reason 0v T 'a X7) 67L7) Xov -t'L 7r7.pvaU3a her and in herrighthand T7A EL shoulders, T' /; V18 v COpaV, Ka7XEL she holds a ,Kab 8E 7T 7Cpa TrAPv pard, and the other XespcAv 7radpaXtl, hand a lion. XCovra. 11. Ajax and 65 (11) And Ajax is represented (11) wreolqrat 8' Ka\ Kao-o'dvCassandrk. i Lara'ro the image Kassandra from ayaXo Aa 3pay wdrr" 7o, 7r dragging him ' is this t of Athene: and beside 8 xaa aVb7 'AOBvrl v oXKOv dWr' :-' the Lokrian inscription Ajax 7rtypa/ppIa cTLV" Athene.' Al'Fal Kaoa'v8pava'w' 'A avalav drags Kassandra from
12. Eteokles
and Polyneikes.
A'/a/.L'oo8
) and he that wields it is Agamem^'T 7r '8ctTr[st" non.,
(12) ? 6. Of the sonsof Oedipus, Polyneikes has fallen on his knee, . 70f IloXvvel- and Eteokles advances upon him. reer 'ETeoKICoX cKOv' 8E0wrt0V <yvvy> o0-T?7KE And behind Polyneikes stands a with tusks as terrible 75 rTEeXova ov'8v /Lpepw-femalefigure S8o6vSrar and as hooked talons on ca\ beast's, Xyep(v a. T7povI Orpplov,Ktal ol T7Ov beside e77- herhands,and theinscription eo- v 0dotovvXe'" \ w' aV77 e'val froct her says that she is a Ker-meanypapta err-arp. Kipa, (04 /TEv VrO 70to VerpWo- ing that fate has snatched Poly70rv 80 /LEvov7bv HIoXvv~li7vdraxOv'7a, neikes away,and that Eteokles,too, -86\ justly met his doom. V?7lE cat 'E7ocXeo
13v HfOl.U'EiKEL 8w E7o0vKXt
70
(12) ? 6. T0)v8E Oi81iro0o rvalE' 701) How07)y1) WET7TK0OT
AoKpov EcXKt.
13. Dionysos.
(13) Dionysosreclinesin a cave, bearded,holding a golden cup, and Kjei/Lko1, yi'veta xp Kcat eKcrowJwpa clad in a tunic reachingto thefeet: 85 r XPwroDv, r Wo8r7p7 Ev488VKc EcT7t and beside him are trees-vines, 7rept\ 8~vSpa 8e Xtr"'va" a\trLeoL e Ka azVO Ical pLXEca7 ELct potal. apples, and pomegranates. (13) Atdvvoo &8 aVTpP iar7adc Fv
YC.Yvo0 8tKaiCal 770, 7EXEVr^.
Ka'v
"O)
corr. Bergk, P.L.G. II.
1. 1, T7 om. La ; 1.7, <JdrTv> La; 1. 14, rP77Erpats suppleui; 1.8, ypdvovis La; 1. 17, rap' aTrdov La; 1. 19, atavrit La; 1. 21, a'lo-lo-T7 codd. (in La iota subscriptum semper omittitur); 1.22, 7rps av'ry codd. dotucvia dotLKvia" Schubart Praef. pag. (uel doucvav 7radry, xxi.); 1. 27, Elt-1v 8& 7rp 7raV?7lv La; 1. 30, 7rCrTPEo La; 1. 36, atOpav 8' hgXcerovaOvaOev codd. fere omnes,
19, qui tamen uerbum
gXEcrov
poetae abiudicat.
63
codd. wreptdpapvara e titulis Corcyraeis reposuit Preger---eptezadpvavat Fick; 1. 50, pvv codd. peuisecundum lapicidarum consuetudinem scripsi; 1. 56, al Fick; 1.58, La; 1. 74, <yvv'> )8evoo- codd. 8elvvrTL apact a'dtvav suppleuit Clavier; 1. 75, La; 1. 80, rbOv IIoXveirv uncis seclusit Tr''ovw-a Siebelis; 1. 87, airb coni. Bergk, A.Z. 1845, p. 175-- 'at La; 1.87, eil codd. NOMINA PROPRIA. 1. 11, fortasse 'ApdtyvasecundumAtticorum pictorum consuetudinemscribendum. Cp. Kretschmer,Die Griechischen Vaseninschriften, p. 198; 1. 69, Ai'Fa' semper a pictoribus Corinthiis scribiturin vase Corinthiolegitur Kr7oav3pa (M.d.I. 1855, xx.).
Tecodd.oir69I ye Heyne,formam Doricam reposuitFick-Kdowv codd.KdFwv?
Aliterde hoc loco emendandoiudicauit Robert,Hermes, xxiii. 39; 1.47, o3rd
Te TCOv E wrp 70ro Odysseusand Circefrom thenumber a'a el Oeparatvcov of the attendant maidensand tasks al 70rois c7rrrXalov, woovLIEotV rw' 10 ab'Trov' r'e 'apCe're yap elttv at performed by them: for there are and theyare doingthe yvvaKe,lal dpydtovrat ti 'pya a fourwomen, ev TroO g'reatv "Oqrpov etpKce. workwhichHomer assigns to them rvrad Kev`ravpo 8Aoo ' " 7r7rov in his poem. And there is a CenrOov 7E ra1va E6/ O 8"7rpo-Oev abroiv taur whose legs are not all those of 7rd6a, ro70 15 'erxoAv8poId a horse,but his forelegs ErtV. are human. aLt ?8. E' Kat vvawKEc dl4- ? 8. Next in order come two-horse It77OwfO a-vvwplw6pe elv erToaat' r-reph chariots, and women standing in Tcov vvwoptov 7 p dTT', ro t7rot; avt p them: and the horseshave golden Xpva iaCi 8A o7rXa pta wings,and a man is giving armour 818waov T&v 20 rairadv ijv IIarpKXQov 7ravvatowv. reXevri'v to one of the women. This they withreference to the death exetV reKtaLpovrat-Nqyp~t8al E interpret of Elt for the women in the TOWv ,cai Patroklos; Eytp avvop8ptv eivat, are 7a o7rXa chariots, Nereids,and they say, e'rYtv XaFtpdvetvrrapa 0 Ta Thetis is the Kat armourfrom KatL 8l receiving iXXocw c'Hoalrov. E'r v the man who 25 07rXa Besides, Hephaestus. sob obre robI w768al the armour is somewhat eppwaevol, Kcal o7rtr-Ov oIKElTr7 erre- presents by a slave 'eXov. ? 9. Xe'yerat lame, and he is followed ral ot 7rvpdypav 8c cat de;rov K'vravpov on Xelpcov with a pair of tongs. ? 9. The AvOpd~-ov Centaur, too, they explain by the q~8r7raph OeoF fact that Cheiron who had left the 30 antrrlnaype'vo eivat a-vvOLKOl Kicat 'jr)v 'tiivol va rKco ranks of men and was thought wrievovs aca-rTov to dwell withgods,came to 7rapaoccevct-ov. 'AXtXXet 'nraplevovl worthy r offer 8 h some consolationto Achilles r7 ItOvDovY, 7T UV exovo-av
thereon. Now there is a woman 5 dEv -rrrlXacp 7 vv KaOeva8~ovoa o'bv recliningwith a man on a couch in yPLE drL hXIv, KatL 4b '08va-a eLZat ,caL Kip'KyvdoyioFtopev ptOetp a cave, and we inferred themto be
? 7. The uppermostfield-they FIrTH BAND. are five in number-presents no ya~p apt6v a8 but we are leftto conelicdov8v, ewiypactppa Xeiwelcrat inscriptions, as to the scenes wrought 1. The etv El Ta e7retpyao-/teva.etLL-tv ovv jecture
av)TaTr)
?7.78
\
et-, t7rapExerat av
I
X pa, re7e
3\ 3
Peleussand
Thetis.
64
Kd- in his grief. And there are two Tq 7viam,77 be rrLwlevevrY the one 35 Xvp~a d r7L rt7 ecaX!, Navo-Lacv maidens in a mule-chariot, with a the other the reins, vaL Te vo/itovowrv r v 'AXKivovholding maid driving to the washing. is man There a Centaurs To?eovTa avpa dv Kevradpovq, shooting has of them: who killed some 8 eal arETovoa 40 roI v, clearly roura iat the archeris Herakles and the exTe ?v (SXa 'HparKXEa roTeVovra ploit is his. "HpaKVXovevat rb 'pyov. ? 10. TrVpe\V8? 7( ? 10. The name of the craftsman VXapvaKa Kawho 007Lv, wrought the chest we were ov(a/?uq 7reapyao1JEuvov i 45 a' iv E 8vvacT v avy43aX-ErOac Ta quite unable to discover. But the 8 7r 7rr'aTr77 7axa inscriptions-though another poet Et7rLypai/arTa rrov IKamight perhapshave composedthem dXXoq Av e'' )rc7roLrtc7o, dV a strong suspicion that -aroused 717 V' 7ro-X rTO Ei4UXhou (Seb7rovola TE Eumelos of Corinth was their etXev /.Liv, aXXwv KopivOtov ' V7rpooo8Ov CpaLXCTra 50 Tru and Ka TO author,both on othergrounds, EUEKSa with the 8E7rolooevE by especially comparison AgL?7ov. processionalhymnwhichhe wrote forDelos.
\ Kat r.)v Oep'rraLvaw E7rr veil on her head. These theysupoXavvov'o-a pose to be Nausikaa and her hand70To 7rXvvooq.
2. Herakles and the

Centaurs.
1.8, Oepa7ratcfv La; 1. 13, K 'uravpo , E erk rov rTrTrov9 7rSa9 La, K. 8e To 8C K. codd. trrov or68al oV 70TO rvvraq~ sinceri, 7t7Trov'rooSa9 roovrov 'rdvraV 1. 27,e'Xwoom. La-7rapao-rcevdo-wo Heyne; 1.21, rpql7ai dSTri Tiov re ycapLa; . XXvgpta La teste de Vries; 1,34; La; 1. 35, vavoard 7e La; 1. 36, dXKiov La ; 1. 39, ,chv La. ralpovq La; 1. 40, areKTroudra La; 1. 45, avpd4Xe-Oate Kalkmann and Robertattributethe foregoing descriptionof the chest of Kypselos to Polemon,withwhose7repr/y roUt 'EXXdao0 Pausanias was no doubt acquainted, though opinions differwidely as to the extent of his indebtednessto it. Specificreasonsforthe theoryin this case are hard to find; and indeed nothing furthercan be adduced than the following facts. (1) In v. 19, 2, if we read 'AOavaOev,we may suppose that Polemon so read (or misread)the inscription, and that it was in this connexionthat he told the storyof Theseus, as quoted from him by Schol. I 242, introducing a referenceto Alkman. Pausanias may betray his acquaintance with this passage in Polemon's work in i. 41, 4, where he quotes Alkman (from Polemon,accordingto the theory)for the same story(Robert,Hermesxxiii. 439). Little weightcan be attached to this tissue of conjectures. (2) In the same section Pausanias compares the figureof"Ep9t to a similar figurein the painting of Kalliphon of Samos, to be seen in the temple of Artemisat Ephesus. In x. 26, 5 he illustratesthe costume worn by Patroklosin Polygnotos'Iliupersis by a referenceto the same work of
65
to be derived is supposedon othergrounds Kalliphon. This latterdescription of the chest is by the from it is argued,the description Polemon: therefore, same author (Kalkmann, Pausanias der Perieget, p. 114). To those who believe that when Pausanias wrote he usually meant what he dyc MOeao-4ppv said, such a combinationwill have little force. Gurlittsuccessfully defendsPausanias fromthe charge of copyinghis from wholesale Polemon (Ueber Pausanias, p. 163 ff.). description The questions raised by the introductory sections (v. 17, 5, 6) have been discussed. already FIRST BAND. is fromright to left,as is shownby the factthat The general direction leftto rightin describing the secondband (v. 18, 1). Pausanias proceedsfrom He seems to describe the figurescarefullyin their exact order,and thus last. This showsthat the direction arrivesat the winnerin the chariot-race of the race was from rightto left,not,as Overbeck restored it, fromleft to involvedtermsin whichPausanias describesthe scene right. The curiously in their order with the Hydra also point to his desire to mentionthe figures of position. Restoring the whole band on this principle we findthat its is predominantly from ofthe movement rightto left. There was no division of ornament and bands vertical in scenes band the fact by (v. supr.), separate a of continuous frieze servedthe quasi-architectural purpose decoratingthe monument. of the 'plinth' AND PELOPS.-The subject is not familiar 1. OENOMAOS in earlyGreek vi.1891, p. 34,represents Jahrbuch the preceding art (a b.f.lekythos, moment) with special reference to Olympia and the victory and is no doubt introduced of Periander,but is composedof the simplestelements. The chariotdrawn by winged horsesis a type familiar on 'bucchero nero' (Micali, Mon. Ined. xxxiv.2, 3; cp. the later Etruscan b.f. amphoraxxxvii.1). 2. DEPARTUREOF AMPHIARAOS.--Restored directlyfromM. d. . x. 4, not mentioned the figures byPausanias. Fromthe repeatedmention omitting of the house ( 8'~ A 'AAu. 'Atatapdov 'r 7 1 ola Tre7rol7'Tat-p-tC h 8e'oi) iii. 366) rightly concludesthat,as on the vase, ri7 oliciav) Pernice (Jahrbuch of the scene. Wilisch64remarks the palace was indicatedat both extremities that the scene is composedof two standingtypes-a trainof women and a chariotabout to depart; these are specialized by the attitudeof Amphiaraos notes that no definite and the necklace in the hands of Eriphyle. Robert55 momentis represented. The scene occursin a reducedform on theamphora Micali, Storia 95, which is clearly'Ionic.' 56 The body of the amphora has three horizontal fields of decoration; on the topmost of these, beside Herakles (club and lion's skin) attackingCentaurs (with human forelegs)is
Thonindustrie, p. 78. 54 Die altkorinthische 65 Bild und Lied, p. 14. 56 To this Ionic class belong, e.g., Micali, XIV, TI.S.-VOL. Storia 36, Vienna Kunsthistorisches Museum 278, Cabinet des Medailles 339, 273, Louvre 684. F
66
representedthe departure of Amphiaraos; the scene is composed of the followingfigures(proceeding from left to right):-old man seated on a chariotof folding-stool, putting his hand to his head as a token of grief, the naked and female a Amphiaraos, boy, figure (presumably Eriphyle) and standing on an ornament extending both hands towardsAmphiaraos, from the handle. The other bands of the vase are occupied by projecting frieze of animals and hippocamp) broken by two (1) (including griffins race of two-horse whichmay well be referred seven warriors, to chariots, (2) the funeralgames of Pelias (v. infr.). Pausanias says that Baton held a lance: the vases give him a goad, whichis morenatural and has therefore been adopted. Pernice thinksthat the seated Herakles described by Pausanias really belongs to the scene, comparingthe figure 'AXtL~Gy on M. d. I. x. 4 and the seated figureof since Herakles' name must have been Micali, Storia 95. But this is wrong, and the was inscribed, flute-player standing i5rtcr-ev aT'roD,which words Pausanias adds to showthat he is departing from the strictorder. 3. FUNERAL GAMES OF PELIAS.-These are combinedwiththeprevious scene on M. d. I. x. 4, from which vase the throned Herakles,the chariotrace, and the wrestlerswere directlytaken (Schneider,Prolegomena, p. 51 note,thinksthe chariot-raceas there representedimpossible in relief, and would therefore restorefrom'E0. 'ApX. 1887 v.,but this seems unnecessary), the restof the figures being composedin the same style. Athletic contests were early represented in Greek art (cp. the tripod vase of Tanagra, A. Z. 1881 iii.), and the chariot-race, from its simple soon acquired decorative importance. A fine 'paratactic' composition, ' Protocorinthian' a race of lekythos in the museum at Taranto represents with as 'ratev Ke tripods prizes. t~riTovrEv,'of the The popularity of such Argonautic legendled to the specialization contestsas the lOXa ~wlIHe[ea, a subject treatednot onlyby Stesichorosat a date somewhatlater than thatof the chest, but also by 'Homer' (Simonides Fr. 53 Bgk.), i.e. in some early Epic composition.57The catalogue of the Argonautswas howevernot fixed in the popular mind (representedby the to the severalcontests. In spite vase-painters &c.), still less theirassignment of the close correspondence between the chest of Kypselos and -3. x. d.. are in most cases different.Both however 4, the names of the competitors in the chariot-race Euphamosthewinner agreein making (whereasAmphiaraos was the winneraccording to Stesichoros). This may perhaps serve to date some little time afterthe founding both monuments of Cyrene-Euphamos ancestorof the Battiad kings and thus gaininga place being the mythical in the list of Argonauts(Studniczka,Kyrenep. 107). The artistof the chest introducesPisos because of the connexionwith Olympia (Jessen,op. cit.p. 29). Argeios,who is a judge on the vase but a runner on the chest,is identified by Robert(A. d. 1. 1874, p. 97) with Argos,the builder of the
57 Cp. Griger, De Argonauticarum fabularum historiaquaestiones selectae(Vratislauiae1889);
inCatalogum Jessen, Argonautarum Prolegomena (Berlin 1889).
67
Argo. Iphiklos (according to Jessen, op. cit. Sententiavi.) is the son of Thestius the Aetolian,not the Thessalian son of Phylakos.58 Neotheus and Phalareus are possibly names added without special significanceby the artist. d6rKyiselidenp. 61, yvw a ro i].-Benndorf (ap. Klein, Kypsele blnrt-ver note) pointed out that we have here a mistake of Pausanias. The fluteare player was male, but worethe long ungirtchiton in which flute-players and this was costume misunderstood Pausanias. regularlyrepresented, by & avXt Kcat consists (Ppvytlot4s ovx 'EEXXvpro^; aiXo].--The difference in the presence of the curved tip of horn inserted in one of the pipes (Baumeister, p. 560 and Abb. 594). DenkJmailer Jp a , rr^c ]ravXet].--This is the only figureon 'o at-co a^3,ppve'p the chest which-as it wouldseem-must be restored enface. The artist of the Franqois vase has once attemptedsuch a figure(Dionysos). For fluteplaying at a boxing-match cp. Micali, Mon. Ined. xxxii. 1, 2 (oenochoe of 'bucchero' with figures in relief), and the bronze Xc1'lv from Capua OvyarTpeO elLtra HlleXov].-Like the tripods,they formedprizes for the successful F. H. G.iii. 389) competitors.Cp. Nik. Dam. Fr. 55 (= Miuller v A Kcalapha cb6vov ol 'ptwarot. 7'ts Ovyardpaq a'roi ~dYorY Toc, o 4. HERAKLES AND THE HYDRA.-There are two typesof this scene in early art (1) the Peloponnesian type,representedby the Corinthianvases A.Z. 1859 P1. 125 and M. d. I. iii. 46, 2 = Rossbach, Griechische Antiken des arch. Museums in Breslau (Festgruss zur GCorlitzer Philologenversammlung 1889), and by the 'Corintho-Attic'vases Nos. 22 and 60 in Holwerda's list.5 Both Herakles and Iolaos are actively engaged in combating the Hydra. (2) The Eastern type,of whichthe best known examples are the amphoraA. V. 95, 6-which Klein classed as Chalcidian,but whose provenience has been disputedby Studniczka and others-and the poros pediment of the Acropolis'E0. 'ApX. 1884 vii. Whatever be the origin of the vase viii. 1893 p. 100 give reason to --Hauser's combinations in Jahlrbuch believe that it was painted in Attica under Chalcidian influence-the type is undoubtedly but stands in the chariot and 'Eastern.' Iolaos is present, turnsto witnessthe combat. It is possible but not certainthat the type is borrowedon another'Peloponnesian' work-viz. the bronze-relief fromthe Ptoon, Bull. Cor. Hell. xvi. 1892, P1. X. Brunn (Rhein.MAls. v. 1847, p. 336) firstpointed out that the chariot of Iolaos was wrongly reckonedby Pausanias to the games of Pelias. The curiouslyinverted order of words is no doubt due to Pausanias' desire to mention thefigures-T7'v the order is8pav...'HpaKXcE......'A.6Mva--in in whichhe saw them. of The to whichPausanias alludes must not be interrxi-~xa Herakles to include the lion's is notfound skin,which,as Furtwingler preted remarks,
"5 "O/tlpos oFe
d. I. v. 25). (Ji.
Schol. Ap. Rh. i. 45 expresslysays, oUlTE

'HtHafoos oirTe
~7~ A'Eyovorwy spcEK
7b4 "INcAo
o" v. (1890), p.252. Jahrbuch,
bvyro7s'Ap-yovavsrats.
F2
68
on any monumentearlierthan cent. vi. (in Roscher's Lexikon,Sp. 2145)and on no early Peloponnesian monument. It came from Cyprus, and appears on earlyIonic and Etruscan monuments-e.g.the amphora,Micali Storia 95 referred to above. It is quite in keeping with this geographical distribution of the type that Peisandrosof Kamiros is said to have been the first to introduceit in the epic (Strabo xv. 688) and also to have given the hydramanyheadsinsteadof one (Paus. ii. 37, 4 = Fr. 2 Kinkel). 5. PHINEUS, BOREADS AND HARPIES.-Directly restored from the Wiirzburg cylix,M. d. I. x. 8-omitting superfluous figures. Cp. von Duhn, zur zur Karlsrmher PhiloPhineusschale Bemerkungen JWibrzburger (Festschrift The a formed of the logenversammlung 1882). part myth Argonauticlegend, and thus appropriatelyfinds a place near the funeral games of Pelias. Phineus was originallyan amphibious being withprophetic powerswhose home was on the Thracian Bosphorus, and who mightbe induced to show sea-farers the way to the Black Sea. He is to be classed with the various e who performed like functions-e.g. Triton for Jason (Hdt. iiXa 7EdpovT'e9 iv. 179), Proteus forMenelaos (8 351-490). The Byzantinesheld that the excellence had shown the par Argonautsthe way(Dionys.Byz. de iXkovypwov 20 von Navigatione Wescher,cp. p. Duhn, de Menelaiitinere Egyptio Bospoqri p. 34, Furtwaingler, Goldfundvon Vettersfelde p. 29, Escher, Triton und seine BekampfungdiurchHerakles p. 58), but the common account was that Phineus-originally smittenwith blindnessfor showing Phrixos the waydirectedthe Argonautsin returnforthe service performed by the Boreads (Schol. Ap. Rh. ii. 181 and Schol. Ik 69 from Asklepiades). Though the Ionic type of the fish-tailed aiXo y pwv60penetratedthe Peloponnesian work-shops(Olympia, Bronzen 699 with Furtwangler'snote), the subject before us can only be illustrated fromthe certainly Ionic Wiirzburg cylix. The two pairs of wings-a featuresaid to be characteristic of Ionic art,and of the Etruscan art whichfollows it-have been retained. SECOND BAND.
This band cannotbe said to have any predominant movement. It was composed of detached scenes no doubt enclosed by bands of ornamental framework, probably groupedin some measure about a centre. If we follow in combining Brunn,Robertand Furtwangler Welcker, themarriageofMedea and Jason with Apollo and the Muses in one centralscene,the threesmaller sceneswhichfollow on each side seemfairly symmetrical. It wouldthen seem to break down the partitionsbetween the three first (so-called necessary 'mystical') scenes, and form a long scene corresponding to the pursuit of Perseus (so Furtwingler). Withoutdenyingthat these conjectureshave a
'Chalcidian' bronze handles from Italy ments of the Acropolis(in onecase correspond. (e.g. Notizie degli scavi 1886 i.): friezeof ing to the hydra scene), ivoryrelief, M.d.I. vi. ofVettersfelde, 46. See Briickner, Assos, coinsofCyzicus, gold-fish ap. Escher,op. cit. p. 114. vases of Diimmler's'Pontic' fabric, porospedi60
69
measureof probability conservativein I have thoughtit betterto be rigidly he the to uses the text of Where Pausanias. adhering particle86,I place a verticalband of 'guilloche,' adapted fromthe 'Argive' bronze-reliefs. 1. NIGHT, DEATH AND SLEEP.-Hes. Theog.211-2 (original),756-7 to right(to give v. supr. Klein would restoreNight in profile (interpolated), on her arm (cp. Apollo the direction of the band) with the childrenstanding and winged figure on coins of Caulonia, Gardner, Types I, 1), but this is impossible. Ldschcke,A.Z. 1876, p. 113 note,indicatedthe typein the figure of Leto with her children(A. V. 55, Mus. Greg. ii. 39, with Hermes and Dionysos; cp. Micali Storia 85, with Dionysos and Satyr). In the absence of monumental with wings-a featurein tradition, Night has been restored with the of archaic and art, keeping spirit supportedby the later conception Av. Ni) 695 (Ar. peXav6rwrepo9). thereproduction, beingmade ofcolourin 4Xava E"Xe rwa8a].--Abstraction no attempthas been made to indicatethis. It seems veryprobablethat the a materialused by the 'Daidalidai'-e.g. Endoios' figurewas inlaid in ebony, statue of the Ephesian Artemis,Plin. N.H. xvi. 214, according to most authorities (incompletely given by Overbeck, Schriftquellen 353), and Dipoinos and Skyllis' statues of Anaxis, Mnasinous,Hilaeira and Phoibe ].-There is no need to insert TrT with Schubart,cp. /caOeVSovPTL doruc; Verg. Aen. vi. 522 (the converseconception). worddoes not necessarily 8teor-paplqvov9 roV implymalbut may mean wro'8aa].-The formation, simply'turned outward.' 2. DIKE AND ADIKIA.-Hes. v. supr.)makes Theog.902 f. (interpolated, the sister of xlvii. Roscher, 1889, Philologus Cp. p. 709. She is AlcK Ntv'. armed with a P6'rrpov by Eur. Hipp. 1171 r Orp0Trd Ai/oI9fe raarev aarrVv ; A scene corresponding closely to the present 61 occurson the b. o56r'pov and r.f. amphora in the style of Nikosthenes in Vienna, Oesterreichisches Museum 319 = Fig. 22 in Masner's catalogue. But the most valuable monumentfor the restorationof the type is the 'Argive' bronze-relief of Olympia (No 699), probably representingHerakles in combatwith JFpa9 and references). The features of the supposed (see Furtwangler's description 'I'ipa9' have been reproduced in our representation:I have no doubt that the type was taken over to serve as the expressionforthe new conception, femalefigures formales. being substituted 3. THE MOIRAI.-Restored with the aid of the lost vase figuredby Heydemann,Iliupersis p. 24, froma drawingleftby Gerhard to the Berlin Museum: I found a drawing of the same vase in the Institute at Rome (Portfolio presented by Braun v. B 38). It is an Attic amphora(of the class '2 /3 Gruppe 1' in Furtwiingler'sBerlin Vase-Catalogue). Plate 40 must Hermes cptof?pov clearly be the reverse of the same vase, and represents followed as it may point to by a womanin a mantle. This is noteworthy,
61
(0.,s. 324).
AUI~ wields an axe, otherwisethe agreement is exact.
70
Boeotia (Paus, ix. 22, the well-knowncult at Tanagra). On the vase only one mortaris represented-the meaning of the scene having been lost. This is reallya reversion to the originalEgyptiantype (Wilkinson,Manners and Customs ii. (ed. 1878) meaning. The p. 204), whichhas no mythological as I am informed Mr. has a very double pestle, Henry Balfour, by kindly the wide ethnographical and distribution-Africa (Masailand Niger district) -North America-the Malay Archipelago(Sumatra)&c. See an illustration in Lander,Alone withtheHairy Ainu, p. 215. The subject has been determinedby Roscher,who refutedan attempt made by Kern (Jahrbuch iii. 1888, pp. 234 ff.) to interpretthe figuresas Adrasteia and Eide withthe aid of passages from the Orphic theogony. It is true that Orphic poems existed in the sixth century (so Kern, Dc theoDissertatio de theogoniae goniis,1888, Susemihl, Orphicae formaantiquissima Greifswald 1890, Gruppe,Jahrbiicher fur c7lassische Philologie, Su9pplementband xvii. 1890, who in his second excursusalso refutesKern's theoryas to the scene represented on the chest),but not likelythat they would influence the artistof the chest; and the picturedrawnby Kern of Adrasteia and Eide withbronzepestles(from Hermias ap. Plat. Phaedr.148, beatingtambourines is ludicrous. The cp. Apollod. i. 1, 7) figuresundoubtedlyrepresentthe Fates preparing re aoVK re Hes. Theog.219 = 905 (an good and ill-a-dyaOdv 7roXXaphv interpolatedpassage). Cp. 0 230 Oapaaa pcpyptu7va aeOXka 8' Xvyp. The duality is noteworthy. It is proved forDelphi by rroUXX Paus. x. 24, 4 (aydX/,ara Motpcov and Plut. de El apud Delphos 2 (v. Uo) Mommsen,Delphikcap. 101); and while Nicander,quoted by Antoninus Liberalis 29, relatesthat the Moipat delayedthe birthof Herakles,Paus. ix. the kapFLaKti&e 11, 3 describesan archaic relief at Thebes representing who were responsiblefor the delay according to the local story. This of Hesiod duality may be impliedin the original version of the Theogony
(v.supr.).
4. IDAS AND MARPESSA.-Cp. I 557 sqq. a Kovpyp Mapwrrjo-or'l aXXto'vpov Elyvvf' 9 W11eW 0', VE ipTLero-roq inElo aiv 3pciv Trov Tjoe, KcaL a lvalcroq cvavriov eLEro rd~ov pol9ov vbi pe. voq 'ArordXXo,,caKt'cOpov e;eca On the storyand (later) monumentssee Jahn,Archaologische Aufsitze, pp. 46-56; note that in some of its featuresthe mythis a doublet of the storyof Pelops and Hippodamia (Simonidesap. Schol. K 55, Bacchylidesap. Schol. Pind. Isthm.iv. 92).
Trv xlvii. 1892, p. 291) restoredEiavoi fromthe passage of Homer quoted above. ray EbiavoGD].--TheMSS. read
dic
vaoi ; but Frohner (Rlhein. iMus.
5. ZEUS ANDALKMENE.--Lschcke(Do'pater Programm 1879) explained the scenesof the well-known Bausteine55) Spartanstele (Friedrichs-Wolters, as representingthis and the followingsubject (M1enelaosand Helen).
71
Milchh6fer had previously(Ath. Mitth.ii. 462) compared withthe stele a ' reliefs, ' bucchero whichL6schckeregardedas representing of Etruscan group 'the older general type fromwhich both the mythical subjects of the In his laterwork(Anfdnge Spartan stele were developedby differentiation.' the defends Milchh6fer Kunst, impersonalexplanationof dcr pp. 186-194) the scenes; and this is perhapsequally probable. The type depicted on the chest is less developed than those of the stele. Its originmaybe tracedby comparisonwith the Etruscan 'bucchero' reliefs are mechanically published by Micali, Storia xx. On these reliefsfigures for It is in all combinations. important our purpose to reproduced possible note the following nos. each holdingone handle of a cantharos. (1) 4. Two seated figures, each holdingthe same crown One seated and one 13. (2) standingfigure, in both hands. seated at table: the cantharos suspended in mid(3) 21. Two figures air to fillthe space betweenthem-for which compare the situla fromthe Certosa of Bologna (Zannoni P1. 35).62 is the type beforeus: Just such a simple and symmetrical combination in the and we may find a close parallel from Peloponnesian bronze-work relieffromthe Ptoon (Bull. Corr. Hell. xvi. 1892, P1. XI.) where two male figures, placed, are connectedby means of a crown. symmetrically 6. MENELAOS AND HELEN.-The earliest occurrenceof the type is on the Spartan stele: on Attic b.f. vases it is not uncommon(e.g. Gerhard, und Camqp.Vascnbilder xxi.; A.V. 129). This is not the place to Etruslk. discuss the 'miniature Homeric question' raised by Robert and Klein as to the existenceof a comprehensiveIliupersis in archaic times. The truth seems to be that the parts (of which two occur on the chest-the present scene and IV. 11) are prior to the whole. They representa number of in the Peloponnesianschool. individualtypesformed 7. MEDEA AND JASON.-(This may have formedone scene with the next subject,v. supr.) The subject may be regarded as one introducedby to his native place, especiallyas it does not the artistwith special reference formpart of the common stock of early types. In restoringthe scene a of Herakles into Olympos, as repreparallel was soughtin the introduction sentedon the cylixfrom Rhodes (J.H.S. P1. XLI.); the gestureof Jason is a constantone with Herakles in this scene. I have adhered strictlyto the orderof thefigures as given byPausanias. Overbeck's declared draughtsman himself unable to reconstruct the scene withthat arrangement, and Overbeck was thus led to believe that Pausanias had mistaken Aphroditefor Medea, and viceversa. But the suppositionis gratuitous, and involvesthe representationof a full-face seated figure, which is mostimprobableforthe chest. ofthe legend,but Medea and Jasonruled in Thessaly in the oldestform were brought to Corinth by the poet Eumelos (Wilisch, Fragmentedes
62
For a further developmentcf. Schneider, Prolegomena, p. 47 f.
72
Epikers Eumelos,p. 9; cp. Groger,op. cit. p. 31, who assumes Chalcidian in the transmission influence of the story). The 'Aa~rV C'HpaKXdov?200-202. on a two occurs and in Melian vase a Muses subject (Conze P1. IV.; Apollo of It to stock and has therefore the earliest been chariot). types, belongs in the simplest manner by the threefoldrepetitionof the reconstructed 'Dreifrauengruppe.'
8. APOLLO AND THE MUSES.-Hes. 9. ATLAS AND HERAKLES. Hes. Theog. 517 ff.
"A'rXaqoupavove'pvv ecX'e KcparpiTE) 7r' v7T /YcKv v [wrepao-tv v vXtryvbavo cEa0lrep&ov dv /abq 7rpo'7rap Cp. vv. 215, 6 (Hesperides children of Night), 746 ff.(interpolatedAtlas stands where Night, with her children Sleep and Death, and Day meet). Cp. Eur. Hipp. 742 ff. The inscription "ATrXa9 EfpU'EX~t, rT N8 aXa peOlo-tL o'pavbpv is a consciousparody(Robert,Hermesxxiii. 4403). The currentformof the legend,accordingto which Atlas fetchedthe apples while Herakles upheld the heaven, was told by Pherekydes(Fr. 33 and is represented on a b.f.lekythos(Cent. V.) published in J.H.S. Mtiller), and on the xiii.,P1. III., metopefrom Olympia(misinterpreted byPausanias). But the type on the chest-secured against misunderstanding-doesnot to any knownversionof the story, nor is it easy to reconstruct an correspond account which will allow Atlas to supportthe heaven and hold the apples at once. It seems possible that the artist regarded Atlas himself as the guardianof the apples, and placed them in his hands as the simplestmethod of indicatingthis,using the typesmostreadyto hand in combination. Thus the typeofAtlas recurs as Sisyphos on the Cyrenaic cylix, A. V. 86, from whichit is here restored with the necessarymodification. e of Panainos). K~a rz0v].-Cp.Paus. v. 11, 2 (painting ovpavorv aXdet In both cases the of a 52, 3 expressionis a loose reminiscence
'Xet 86 Te IcKovav aC7"O Xovav. TE Ka oi'pavov
E-oST?7o,
K ecaXyTE
K al XKca/a'Tot0l XEpeoLo't.]
10. ARES ANDAPHRODITE.-The type= No. 4, the directionno doubt being reversed; see the discussionof that No. 11. PELEUS AND THETIS.-Two moments are representedin art (1) Peleus lying in wait for Thetis (Jahsrbuch i. 1886, Ph. X., and probably the d. I. x. 39a, 1, la), a' paratactic' composition, ivorysitula fromChiusi,fM. and (2) the wrestling schema-on which see Graf, loc. cit. This Jahrbnch, Loschcke considers,as a 'closed' type, to be Ionic in origin. Graf and Loschckesuppose the legendto have a local originand to have been unknown
,taKcpa, a% "yatav
73
Zeus.)
in literature: to which Schneider, (Prolegomena, p. 37 note 4) demurs, 432 out it be that 1 ff. (Thetis is speaking of pointing may presupposedby
5K EV /'
The transformations of Thetis are indicated by the snake only (so only Griif10 = Campana iv. 563). ANDPERSEUS.-The typeand its elementsare among 12. THE GORGONS the commonestdecorative subjects in early art. Hes. 'Aorrtc'HpaKXELovq 216-237; the attitudeof Perseus (0rer6TEvov in Paus.), which is constant on the earlymonuments, is indicatedby 1. 217 OiTactpE,7rt avo&vraKeo97rocrv, oi~O'eK awirou. The mostimportant of the earlymonuments are :The from J.H.S. XLIII. Rhodes, (1) cylix P1. i. 57 (fromwhich the (2) The earlyAttic amphora,AntikeDenkmeiler are in the Perseus is absent. Gorgons adapted restoration): (3) The early Attic X4%8qfromAegina, A. Z. 1882, P1. ix. (Perseus only: Harpies on the reverse). (4) The tripodvase fromTanagra, A. Z. 1881, P1. iii. (the scene distributed over several square fields). A comparison of these monumentswill show how the type is composed of independent decorativefigures. (Lischcke A. Z. 1881, p. 31, thinksthat the beardedtype of Perseus is Corinthian, the beardlesstype Chalcidian.) wordsdo not necessarily exclude Medusa at aE'Xat Me~ ol'o-y].-The She has been introduced to the in scene accordancewith complete herself.62" the monuments. THIRD BAND.
Kat ?vwpoC EvTv AIaKL16y \ llflXi7t, &rXwv 4X' oVK 7roXXCa dO Xovra.
aXXov aXtarovv6p,
8'ao'o'v,
We may put aside the mythologicalexcursus of Pausanias, as well as the interpretations of the Olympian ciceroni. The band was no doubt occupied by one of those processionalscenes which were so well adapted to filla long horizontal field. Actual scenes of battle-such as those on the of and cylix Archikles Glaukytes(W. V. 1889 ii.)-seem to be practically excluded by the natureofthe explanationsgiven: but thereseems no reason whygroupsof warriorswith levelled spears on the pointof meetingshould not have been represented; cp. the cylixwith :rpoFio1 ?aXod, A. V. 190, 191 (v. Klein, Lieblingsnamen, p. 27). Combiningthese with,e.g.,theprocessions of chariots on the Corinthian cylix, 'Eb. 'ApX. 1885 vii., and the departure-scene, iM.d. I. 1855 xx.-compared withthe Chalcidian departure scene, A. V. 190, 191-I have attemptedto produce a composition such as
62a
Cp. III. 18. 13 'HpaKhis rTaSr71pvdVov O OiS
ahLXwct,
was no doubtalso present. whereGeryon
74
an archaic artistmighthave employedto decorate such a surfaceas that of the thirdband of the chest. Two points have been kept in view (1) symmetry about the centre(2) gradual progressof the action within the limitsof the of early art. scene-both of whichare characteristic FOURTH BAND.
This band has the same general featuresas the second. Brunn and Furtwanglertranspose the Judgmentof Paris and Artemis in order to obtain a symmetricalresponsionof the scenes, which then fall into two groups, (a) of 1-2 figures-almost square, (b) of 3-5 figures-oblong, and are arrangedalternately about the centralgroup of the Dioscuri,Helen and Aithra. 7. Dioscuri &c. (centralgroup). 8. Koon and Agamemnon. Ajax and Hektor. Melanionand Atalanta. 9. Artemis. Achilles and Memnon. 10. Judgment of Paris. Theseus and Ariadne. 11. Ajax and Cassandra. Herakles and Geryon. 12. Eteokles and Polyneikes. Boreas and Oreithyia. 13. Dionysos. I have not however adopted the transpositionin the restoration, as my as possible to the terms principlehas been throughoutto adhere as rigidly of Pausanias' description, while admittingconsiderablelatitudeofinterpretation. But thereis a certain in the conjecture: thoughno degreeof probability reason can be assigned forthe transposition of the sections in the MS., and the mistake may be due to Pausanias himselfwhen working up his notes from memory. 6. 5. 4. 3. 2. 1. 1. BOREASAND OREITHYIA.-As Loschcke showed,the word 'pwraic1v clearly implies that Boreas is carryingOreithyiain his arms. The type thus belongsto the group discussed by Furtwdtngler, A. Z. 1882, 348ff. and L6schcke,Boreas and Oreithyia, p. 9-who comparesthree scenes fromthe throneof Amyclae,Zeus and Poseidon carrying offTaygete and Alkyone, the rape of the Leukippidai,Theseus and Peirithoos pratcATreC and held by them to be of Ionic origin. L6schcke in his above-named 'EXivy-dissertation showsthat the mythrepresented is not the current Atticlegend, but an Ionic version. Oreithyiais a Nereid in 1 48 (in a list athetised by Zenodotosas 'Ho-t~oetov Erechtheus(in the XapaKt~l7pa), and her father f'Xov Attic myth)is really an Ionic formof Poseidon (von Duhn, Bemerloungen zur WiTrzburger Phineusschale 104ff.). The story is reallya doublet of that of Peleus and Thetis. A variant of the type occurs on the acroterion of Delos (A. Z. 1882, p. 342) where the horse remindsus of the storyof Boreas and the mares of Erichthonios(T 219ff.). For the snake-feet of Boreas we may compare'Chalcidian' bronze Tritonsin the formof decorativehandles Thus we get
75
offa nymph see (e.g. Notiziedegli Scavi, 1886 Pl. I.), and fora Tritoncarrying note 3 bronze handle in the Louvre). 26, Goldfund, (Chalcidian p. Furtwingler, (Robert ap. Hiller von Gartringen,De fabulis ad Thracas pertinentibus, on the chest as Typhon,comparing A. V. 237, 1886 p. 8, explainedthe figure a vase which furnishedhints for the restoration. But Boreas' name was inscribed.) certainly 2. HERAKLES AND GERYON.-L6schcke carefullydistinguishes two archaic typesof Geryon(the latest discussionin Boreas und Oreithyiap. 5f., and by Furtwingler in Roscher'sLexicon,Sp. 2203f.), of which the firstGeryonwinged,one pair oflegs-is represented by twoChalcidian amphorae, A. V. 105, 6 (fromwhich the restorationis adapted) and A. V. 323, the other-Geryon wingless, three complete bodies-by the Corinthian and Attic monuments (of which the earliest is the pyxis J. H. S. v. p. 176). Ltschke argues that the words Tpetl cv8peaXkjXotl imply rpoo'eXo1zevoL the Peloponnesian type: but this is not absolutely conclusive: the three bodies are quite distinct,and Pausanias does not,forexample,mention the T wings of the Boreads on Band I. 5. The phrase 6 a7v wears -rpl Fpv,6zv h, the the appearance of a summarizeddescription-note that in describing throneat Amyclae (iii. 18, 13) Pausanias uses the vagueexpression 'HpaXchiX7 it is The Tjpv0vov /98ov dkXa'vet-andwithoutsome extension of the dbydv impossibleto arriveat a satisfactory arrangementof the scenes to fill the left-hand side of the chest. 3. THESEUS AND ARIADNE.-Cp. Pallat, de fabula Ariadnea, Berlin 1891, p. 7 ff,who thinks that Pausanias may have mistakenthe crownfor the fillet(?) held by Ariadne on the vase of Archiklesand Glaukytes(A. V. 235, 6). But it may simplyindicate the musical skill of Theseus. Later writers identified the constellation of the lyre with the instrumentof Theseus; so 'Anacreon' ap. Hyg. Astr.ii. 6 = Bergk P. L. G. iii.4 280 'AyXov8' Alryeeco, , ono`7 X/py. Milani, 21/is. the innersubject of the classicaiii. 274, refers IPal. di antichitd of TV. V. D. vii. to this scene. cylix Kachrylion 4. ACHILLES AND MEMNON.-The first of three duel-scenes on this band derivedfrom the Trojan story. This scene belongsto the earlystock of art-types,as is seen fromits occurrence on the Melian vase, Conze P1. III.
5. MELANION AND ATALANTA.-A simple composition,the figureof Atalanta being adapted from one of the early types of Artemis, represented fromThera, A. Z. by the Melian vase, Conze Pl. IV. (compare the fragment 1854, Pl. 61). Atalanta is in factin originan Arcadian formof Artemis.
6. AJAXAND HECTOR.-This scene maypossiblyhave been represented on the Olympian bronze-reliefNo. 700a (fragmentary inscrr.,cp. Furtwingler's note). Eor "Ept~,who was certainly with a Gorgon's represented
76
Plate XI.= A. d.1. 1839 tav. P head, see Gerhard,Gesammelte Abhandlungen (Chalcidian skyphos). 7. THE DIOSCURI, HELEN AND AITHRA. Cp. Dio Chrysostom xi. p. 325R. roD b'rL Bv 0 v' 7-rHpa aiJi' pca 7Cvo e'u . 'OXvFpwn'ca r, 3rrL~Tr'uto&SP A corlcopov9 77 IcebaXp Xov o70 op r J'o ra0XvL'EXrvrlv WOE0 11Wviav 7pi 70 'o pXalox' AiOpa9 FA?7r9P'XKovoav.; al 7ilypa/pLa
icar
Eryeypa/.ivov
For this scene onlywe have the independent ofan eyewitness description this to attributes also in Polemon xxiii. 438 !). Unfortunately (Robert Hermes neither account gives us a clear idea of the scene. Robert's suggestion that i'Xourav-)v 'EXErVrn and implies that the Dioscuriwere carrying Helen,63 that her feet hung down over Aithra's head while she dragged her by the hair, is ludicrous. The artist was composingfreely,not drawing on the common stock of types, and it is impossible to arrive at a satisfactory restoration. But Dio Chrysostom's words Eri-pe/r3/v3~vu 7'is ic'efX and if we combinehis phrase 7 K/v.L' AtOpavmustnot be taken literally, mentionthe horses of the Dioscuri they have not been represented:and this seems to have been commonlythe case in the Peloponnese; cp. the relief fromSparta (Ath. Militth. viii. 1883, P1. XVIII., cp. Ath.Mitth. ii. 1877 p. 316, No. 17). No attempthas been made to reproduce theblack garments of Aithra (v. sunpr. Band II. 1). There has been much discussionof late years as to the version of the storyrepresentedon the chest: Robert Hertmes xxiii. 1888, 436 (and Aus Kydathen,p. 101, note 2), Maass Parerga Attica (Index Lectionum Greifsw. 1889--90) and Gitt. Gelehrte 1890t Aus derAnomia Anzeigen p. 556, Tspffer KirchnerAttica t Pceloponnesiaca 1890, p. 36 ff., Greifswald1890, p. 57 ft., Wagner Epitoma Vaticana ex ApollodoriBibliotheca1891, p. 153 f.,Prigge de Theseirebus gestis Marburg,1891, pp. 35--38, Preger Inscriptiones Graecae Mfctricae 1891, p. 135, cp. Wide LakonischeKulte 1893, p. 321. The facts are as follows. Alkman is quoted by Paus. i. 41, , in the following terms :<c 'AOivas e 701ov AqX/chu daioa EXoLeZ, Kal The scholia on F 242 relate how on this occasion t"A heva wrrdhL 'AToLoc 'ropOeTrat:they continue ol 8 ALo~Kovpot 0o-ed'oc;9 7vX6ov7eXha vpaTedn sotyoDrep 'Aredvac. (So the Scholia Veneta: the Scholia Didymi have 'AfhSvap.) The note professesto come partlyfromPolemon and the cyclic poets Ical 7r XvptIC. Bergk ,w~ tipove 'aph 'AX'iuavt 1 L. C. iii 19) would read 'AiS1va9 (P. in both places and emend the text of the inscriptionon the chest of Kypselos to 'Aci&Svaeiv, thus correcting the faultymetre: he thinksmoreover that the artist interpolated
63 But cf. v. 17, 7, eWo',ra 'Xov'ra and the restoration. 'I7r7road'/cLay,
with the words of Pausanias d~ EaoK ivrl we may arrive X~,covo-av at a resultsuch as that shown iea'a0pep/l3 in the restoration. As Pausanias does not
O'09w
orrotoa9
aayo~tyLEv /frjTpa
alXua;Xo~7olvo,
AZoo'Kovpov9, o/Mo0 Oe?7-Ea
??r7tv
avi'oi'
(L'ELVaL.
717V
77
in the verse supplied him by the poet-a suppositionin the word ,XKceTov whichhe has naturallyfoundno followers. The reason of the changes is of course that the currentversion of the storyas told by Herodotus (ix. 73), Hellanicus (Fr. 74 ap. Schol. F 144) and subsequentwritersis to the effect that Helen was recoveredfromAphidna in Attica. Herodotus tells us that the Deceleans assisted the Tyndaridae and in returnreceived privileges at Sparta which they retained down to his own time, and moreover that from theirland enjoyedimmunity devastationduring the Spartan invasions in the Peloponnesianwar. A new elementwas introduced into the discussion by Robert,who called attentionto the fact that Stephanus of Byzantium mentionsa place of the name "Aot8va in Laconia. Robert arguedthat an Attic local legend-which he would suppose, followingNiese's most improbableconjecture,64 to have the war-could not have been originated Peloponnesian during possibly on the of chest he represented Kypselos. Accepting Bergk's emendation, that the scene in laid the was Laconian Maass upheld Aphidna. replied that Theseus being an Attic king would not deposithis prize in Laconia, and vigorouslydefended the reading 'AOivaJev, contending that the form of the legend given by Alkman,in whichAthens was sacked, was the genuine on the chest. Peloponnesianversionand therefore represented defended and removedthe improbability of the T6pffer Bergk's position, presence of an Attic legend on the chest by pointingto the fact that Eumelos, the Corinthianpoet,told how Marathon colonized the Tetrapolis from and to the relationship betweenthe Philaidae in Attica and the Corinth, Kypselids. Wagner supportedMaass, and showed that in Apollodorus(iii. 10, 7), wherethe same confusion occursin the MSS. as in the case of Schol. 242, F the newly-discovered epitomeprovesthe reading'AOj"val, right. MeanwhileKirchner-though himselfdisposedto thinkthat 'AiOvaOev to a version based on the worship of Theseus and Peirithoos at referred that Theseus has lefttracesof his presencein the KoXcovi"I'or'7rtvo-showed at Tegea as well as at Troezen and in Attica. Peloponneseand particularly Wide regardsthis as a confirmation ofthe theory that the Laconian Aphidna is the scene of the myth(but does not state an opinion as to the chest). Of the otherwriters Maass,and PregerBergk. The lattercourse Prigge follows seems to me the most reasonable, though the corruption 'AldvaOev is no doubt a MS. corruption (as shown by the parallel cases) and not to be of the inscription. Bergk's theorythat the artist explainedas a misreading altered the poet's verseis quite untenable. It may be impossibleto finda but we must adhere satisfactory explanationforthe metricalphenomenon, to Pausanias' accountof the factsas he observedthem. rigidly
IPHIDAMAS,o fallenwarrior is a common to the liad. type here specialized with reference
64
8. AGAMEMNON,
KooN.-A
248-263.
The combat over a
-ermes, xxiii. 84.
78
The descriptionof Agamemnon's shield A 36-7, where the Gorgoneion is named as the device,while 'o6/0os(occupies a subordinateposition, is interin For the lion-headed Lexikon, p. 1702). polated (v. Furtwiingler Roscher's figureof Phobos the nearest parallel is the Etruscan amphora, Mus. Nap. Perrot, lix.,forwhichFurtwangler Exploration comparesa Cappadocian relief, in proofofits Asiatic origin. It was a type eliminated de la Galatie 48 M,65 by the struggleforexistencein Greek art,like the K p in No. 12. 9. JUDGMENTOF PARIS.-On the type see Jane Harrison,J.H.S. vii. and Schneider,Prolegomena, 196 ff. p. 21 note 2. Miss Harrison's type b has been in accordance with the earliest monuments(p. 203) reproduced at Florence vii. and pinax (J.H.S. p. 198), amphora,also at Florence (J.H.S.
P1.LXX.).
10. ARTEMIS.-The type is of wide diffusion in earlyGreek art. It will be sufficient to name among the earliestmonuments the gold pendantsfrom Camirus (Salzmann, N&cropole de Camiros I.), the Boeotian 'geometrical' iii. 1888, p. 357), the' Inselstein' (Milchhbfer, casket(Jahrbuch Anfdnge 56a), and the terra-cottarelief fromMycenae (A. Z. 1866 A). The two last are wingless. griechischen Kunst,Bamberg,1890, pp. 58-85, Knoll, Studienzur dltesten maintains that Pausanias attached the name Artemis to this figure on account of the animals (as the rrvo'~ta but that in realitythe figure Orpc^v), was merely a 'decorative Fliigelfrau' derived fromthe Semitic Ishtar.66 The type is of course principallya decorativeone, as is shownby its use e.g. on the handles of the Frangois vase or the gold pendants of Camiros: but therecan be no doubt whatever, from the expression used by Pausanias, that the name Artemis was inscribed. The type is commonlyknown as the ' Persian' Artemis, and comparedwith the Iranian goddess Anahita; but as Studniczka (Kyrene, this identification is wholly maintains, p. 155 ff.) rightly untenable. The Greeks borrowed the type of the male figurewith animals symmetrically disposed (to the list of such figuresmust now be added the ornament fromAegina of late Mycenean style,J.H.S. xiii. p. 201, and gold the bronze-relief of the Acropolis,J.H.S. xiii. p. 259, the firstwingless, the second winged) and, changing the sex, transferred the type to their native lost her goddess Artemis. Like Eos (Studniczka,p. 156) she afterwards thetype wings,as well as her heraldicattitude,thoughas a decorativefigure remainedin subordinate use, e.g.on the diadem of the Nemesis at Rhamnus (Diimmlerap. Studniczka,p. 160102). 11. AJAX ANDCASSANDRA.-There are two earlyexamples ofthe type: Bronze-relief fromOlympia,No. 705, Furtwinglerp. 104. (1) (2) Interiorof cylixfrom Rhodes,J.H.S. P1. XL. with the aid of which the scene has been restored. The figurdof Athena, according to Furt66 The nearestOrientalparallel is a wingless
6- From Boghaz-Keui(Pteria).
figureon a hematite cylinder from Salamis (Perrot,iii. fig.429, p. 638).
79
is conceivedas living. It is hard to say in what school the typewangler, not a verysimple one-was created. How meaninglessit could become in the hands of an unintelligentartist may be seen by comparing the b.f. xiii. A.Z. 1848, amphora, 12. ETEOKLESANDPOLYNEIKES.-The scheme ofthe duel in which one warriorsinks on his knee is familiarin early art. Cp. the lower band on the Amphiaraosvase, M. d. I. x. 4, and the remainsof theuppermost scene on the Acropolis, the bronze-relief from AMitth. xii. 123 note 3. The Ath. 1887, as been has to the of shown,corresponds Ker, already description precisely the K2~pel on the Hesiodic 'Aoariv, but to no ancient monument. Furtin Roscher'sLexikcon, with p. 1707, holds that it should be restored wiingler the face of a Gorgon,and this is certainly the most obvious solution: but in that case it is difficult to give the figure its due place in the action-that of of the Harpies on being ready to seize the fallingwarrior-and a comparison 1882 Z. from that that the A8l (A. ix.) suggests Aegina type may have X been modified by our artistsomewhatin the wayrepresented. His invention did not,however, win its way to acceptanceby otherartists. 13. DIoNYsos.-Note that the train of Satyrsand Maenads is entirely of whichsee above. There is no close parallel, absent; on the significance but a comparison withthe 'Dionysos at sea' ofExekias (A. V. 49) suggests itself. For the cave indicatedby a rock cp. the cave of Pholos,J.IH.S.pl. i.
FIFTH
BAND.
This was a continuousfrieze, like Bands I. and III. (see above). The scene in which Hephaestus hands the armour to Thetis formeda central group. Apart fromthe mule-car67 (of Aphrodite?) the movementwas on either side of the divergent group. 1. THE NUPTIALSOF PELEUS ANDTHETIS.-For the subject see above, The most valuable hints for the reconstruction 5. were obtained from ? I. d. vi. 33 the of A man and womanshare (Herakles guest Eurytos etc.). M1. the same icXlvAon the similarvaso a colonnette in the Louvre 629. The type of Cheiron (to whomhas been assigned the branchwith game suspended in accordancewith the monuments) remaineda standingone even in the fifth ii. century. Cp. J.H.S. pl. (white-ground oenochoe)and the greatAmazonvase fromRuvo at Naples (on the neck). The indication of the lameness of to carry out. The restorationis of course only Hephaestus is difficult conjectural.
67 This is the only serious argument for re- that case have to reversethe direction. But a and as such is sceneconsisting tainingPausanias' interpretation, seemsout onlyof one nmule-car stronglypressed by Schneider. We should in ofplace in the presentfrieze.
80
2. HERAKLES AND CENTAURS.-Freelycomposed,with the aid of such as : earlymonuments (1) The Protocorinthian lekythosin Berlin,A. Z. 1883 pl. x. (2) The Corinthianskyphosin the Louvre,J.LH.S. pl. i. (3) The Cyrenaicdeinos,A. Z. 1881 pl. xi. Cp. also the friezeof Assos. When adapted to a circularfieldthe scene forms a closed ring in which the figureof Herakles acts as a clasp (so Schneider,S&chs.Berichte1891, p. 217); but the originaltype is no doubt that of a friezewith Herakles at one end, as here. The ornament is adapted from the 'Argive' reliefs(the guillochein its and the of the Acropolis publishedby Mr. from bronze-work form), simple Bather(J.R.S. xiii.1892-3, Figg. 22, 24, 26). These wereselectedfrom motives of economyand simplicity, but it is likely that beside the simple guilloche used in the framing of the scenes on bands II. and IV. much more elaborate ornament was also employedon the original. Furtwiingler's sketch(Meisterwerke, p. 731) will show how this may have been. The use of the Palmette and Lotos chain (Arch.Anz. 1891, p. 125, 12a is a fine specimen) and the ornament in 'ET. 'ApX. 1892 xii. 1. 2 (cp. Arch. Anz. 1891, p. 124, figured 12a) seems to me veryprobable.
HENRY STUART JONES.
Studniczkahas contributed to the [NOTE.-Since the above was written, an article with the Jahrbuch (1894, pp. 51-54) dealing primarily figureof to see fair Herakles on Band I. 2 (v. 17, 9), whomhe regardsas introduced like Phoenix in T 358ff. He also (p. play at the T''ppa of the race-course, as to the cylindricalformof the /cvXkr, view note Sittl's 52, 16) adopts words to that fact the are used by Pausanias pointing the Xdapva?andx/C3Wcord at of which of the cistamystica Imhoof and Gardnertrace preserved Patrae, in the cylindricalobject appearing on coins (' Numismatic a representation Q 1-4). He would explain the alternatingdirectionof the Commentary' that the cv*tAy was placed so near to the wall the by supposition irepio8so that it was impossibleto walk roundit. S. further thatit mayhave suggests of the the formed base golden colossus.] originally
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The Decorated Chest of Kypselos

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The Chest of Kypselos Author(s): Henry Stuart Jones Reviewed work(s): Source: The Journal of Hellenic Studies, Vol.

THE CHEST OF KYPSELOS.

THE CHEST OF KYPSELOS.1 [PLATE I,

THE CHEST OF KYPSELOS.

THE CHEST OF KYPSELOS.

THE CHEST OF KYPSELOS.

perhaps lends some support to this elp-Lqmvov interpretation.

THE CHEST OF KYPSELOS.

ii. 48. Vischer,Kleine Schriften, *' Fr. 29, Miiller.

THE CHEST OF KYPSELOS.

THE CHEST OF K YPSELOS.

THE CHEST OF KYPSELOS.

Die Kunst bei Homer (Abh. der bayr.

Akad. 1868). 24 A.Z. 1876, p. 113 note.

THE CHEST OF KYPSELOS.

THE CHEST OF KYPSELOS.

THE CHEST OF KYPSELOS.

THE CHEST OF KYPSELOS.

'reT a4j. (1) v.17,7 rpe8V^rTt

povy. ,y7parrTat 8 rToi'HpaUKXEoVq (4) ib. vToVovx Iayvdo'Tov

at llXov*To S&'voa etOLV (3) v.17,11 Ovyar'pes

7ij ryvvatICo" 7av'T7r dTrypallppa

1lv a$7reOrTtv i"'t

7To re WOXov X0Pw

8e\ 18, 22o8vo aXXaq ,mai

.i...n? Oaptalca flovat oav

THE CHEST OF KYPSELOS.

? 5.-TYPOLOGY AND ARTISTICAFFINITIES.30

THE CHEST OF KYPSELOS.

THE CHEST OF KYPSELOS.

1891, pp. 246-249. 39 Sdchs. Berichte, Book I. (1893). Griechische Kunstgesahichte,

THE CHEST OF KYPSELOS.

A.Z. (1884) viii. 1, ix. 1.

FromRhodes,Milchhifer, Anfdnge, p. 75.

THE CHEST OF KYPSELOS.

Die allkorinthische Wilisch, Thonindustrie, p. 11 f.).

THE CHEST OF KYPSELOS.

THE CHEST OF KYPSELOS.

Chest of Kypselos (Doric).

Throneof Bathykles (Ionic)

THE CHEST OF KYPSELOS.

THE CHEST OF KYPSELOS.

SatyramsPergamon, p. 23, tracingChalcidianinfluence.

THE CHEST OF KYPSELOS.

he directly 518 parodies Hes. T'heog.

?, t7r' aVdayI In the

6' Taprapov ~l Kpv6EvO'*at

Nt, OdvaTroI 212 ? 'Twvo 212

(Theog.211 ff.). Kqp^e 217 ( Fpav) (225) "Ept 225

THE CHEST OF KYPSELOS.

THE CHEST OF KYPSELOS.

n 8' Er7pr) rprpolrapotOe Opo6vwv rTITatLVepa7i-rea?

THE CHEST OF KYPSELOS.

Xapva4 K~B'pov pev

.. . there is a chest made of

THE CHEST OF KYPSELOS.

Kal 'A rre7rotlrat, doxov Epet lV?7rtov7peo-/36cVTtq 7rT 1

house of Amphiaraos, and an old Amphiaraos.

THE CHEST OF KYPSELOS.

THE CHEST OF KYPSELOS.

THE CHEST OF KYPSELOS.

OEvoq, hapu3dverat 8e av'-r7 HqXei'sq, sented, and Peleus is seizing her: