DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.4761#0275
2 68 CATALOGUE OF VASES.
E 439. STAMNOS. Old No. 788. Ht. 12J in. Vulci. Dmand Coll. no. 87. Style of Hieron. Plate XV.
Drawing fine and spirited. The legs of the figures are disproportionately long. Purple is used
for the stem and berries of the ivy-wreath of Dionysos and the entire wreath of the Scilcnos :
also for the notes of music and the girdle. Brown for the upper folds of the chiton, the shading
of the pardalis, of the ends of hair, and boot-flaps, and the inner markings of anatomy ; the
vertical line of the hair on the abdomen is shaded in brown, as in the Hieron vases ; the beard of
Dionysos is long and wedge-shaped, with a brown fringe. The eye is of the archaic type ; that
of Dionysos has the dotted pupil. Below each side, a strip of alternate masanders and red cross
squares. Above, at the insertion of the neck, a band of tongue. Around the lip, two bands
of egg pattern, back to back, separated by a moulding ; beside each handle, a small palmette.
(a) Dionysos brandishing a slain fawn. He is bearded, with long hair
flying back in single wavy tresses, wreathed with ivy, and wears a full long sleeved
woollen chiton, reaching just below the knees and girt at the waist, high laced
boots with triple flaps turned over, and a panther's skin knotted by the fore paws
around his neck (by an error of drawing the studs of the chiton are made to
show through the panther's skin on the r. shoulder). He dances to 1. on his toes,
with r. leg advanced, body drawn back, and head bent forward, swinging aloft in
each hand the half of a fawn—which he has torn in two—by the fore and hind leg.
[Cf. the similar dress in Daremberg and Saglio, s.v. Bacchus, fig,.712, and Mon. dell' I?tst.
xi, pi. 50; for the type, cf. E 362.]
(b) Seilenos playing flutes. He is bald over the forehead and has a fringe
of short wavy locks and a wreath of ivy ; he stands to r. Above the flutes are
inscribed three letters, NON, probably intended to indicate the musical sounds
(cf. Hartwig, Meistersch. p. 255, note 2 ; and E 71).
[For a similar figure cf. the interior of the Hieron cup, Wiener Vorlegcbl. A, pi. 4.]
E 440. . STAMNOS. Old No. 7S5. Ht. 134 in. Vulci. Canino Coll. no. 829. Mon. dell' Inst.
i, pi. 8 ; Panofka, Arch. Comm. zu Pans. pi. 3, 6, 6a ; Ann. dell' Inst. 1829, p. 284 ; Inghirami,
Gal. Omcr. iii, 96 ; Raoul-Rochette, Mon. hied, i, p. ^78 ; Ovcrbeck, Her. Bildw. pi. 32,
no. 8, p. 792, no. 67 ; Muller-Wic=eler, Denkm, d. alt. Kunst, ii, pi. 52, no. 667 (J>) ; Harrison,
Myths of the Odyssey, pi. 37 ; Engelmann-Anderson, Pictorial Alias to Homer, Odyssey, pi. 12,
fig. 64; Gerhard, Rnpp. Vole. p. 171, no. 656; Arclueologia, xxiii, p. 200; Bolte, De Monum.
ad Odyss. pert. p. 26 ; fahrbuch fiir Class. Phil. Suppl. xi, p. 5 14 (Euckenbach) ; Baumeister,
p. 1643, fig. 1700 (gives a) ; Harrison and MacColl, Greek Vase Paintings, pi. 30; Wernicke,
Lieblingsn. p. 8 ; C. I. Gr. 7bgj. For the name Himeropa, cf. Midler, Comment, boc. Gott.
vii, p. 91 ; Schrader, Die Sirenen, p. 74; Roscher, s.v. ; Krctschmer, Gr. Vaseninschr. p. 78.
Style of Brygos. Purple rigging of ship, wreaths, fillets, and inscriptions. Brown inner
markings, shading of the sea and sails, gunwale of boat, feathers of Sirens, earth in b, pinions
of wings, and skin of hare. Eye in archaic form (both angles slightly open). Each design
is enclosed in a panel, formed by (below) sets of three maeanders separated by chequer squares,
(above) tongue surmounting egg pattern, (at sides) net pattern. In b the design partly cuts
and is partly cut by the border at the top.
(a) The ship of Odysseus passing the Sirens. The sea is represented
by a narrow space in the foreground shaded in thinned black, and with a wavy
outline of the same colour. In this the ship moves to 1., propelled by oars, of
which six are seen on the port side ; the heads and shoulders of five bearded
rowers are visible above the gunwale ; the fourth and fifth are seated on the
E 439. STAMNOS. Old No. 788. Ht. 12J in. Vulci. Dmand Coll. no. 87. Style of Hieron. Plate XV.
Drawing fine and spirited. The legs of the figures are disproportionately long. Purple is used
for the stem and berries of the ivy-wreath of Dionysos and the entire wreath of the Scilcnos :
also for the notes of music and the girdle. Brown for the upper folds of the chiton, the shading
of the pardalis, of the ends of hair, and boot-flaps, and the inner markings of anatomy ; the
vertical line of the hair on the abdomen is shaded in brown, as in the Hieron vases ; the beard of
Dionysos is long and wedge-shaped, with a brown fringe. The eye is of the archaic type ; that
of Dionysos has the dotted pupil. Below each side, a strip of alternate masanders and red cross
squares. Above, at the insertion of the neck, a band of tongue. Around the lip, two bands
of egg pattern, back to back, separated by a moulding ; beside each handle, a small palmette.
(a) Dionysos brandishing a slain fawn. He is bearded, with long hair
flying back in single wavy tresses, wreathed with ivy, and wears a full long sleeved
woollen chiton, reaching just below the knees and girt at the waist, high laced
boots with triple flaps turned over, and a panther's skin knotted by the fore paws
around his neck (by an error of drawing the studs of the chiton are made to
show through the panther's skin on the r. shoulder). He dances to 1. on his toes,
with r. leg advanced, body drawn back, and head bent forward, swinging aloft in
each hand the half of a fawn—which he has torn in two—by the fore and hind leg.
[Cf. the similar dress in Daremberg and Saglio, s.v. Bacchus, fig,.712, and Mon. dell' I?tst.
xi, pi. 50; for the type, cf. E 362.]
(b) Seilenos playing flutes. He is bald over the forehead and has a fringe
of short wavy locks and a wreath of ivy ; he stands to r. Above the flutes are
inscribed three letters, NON, probably intended to indicate the musical sounds
(cf. Hartwig, Meistersch. p. 255, note 2 ; and E 71).
[For a similar figure cf. the interior of the Hieron cup, Wiener Vorlegcbl. A, pi. 4.]
E 440. . STAMNOS. Old No. 7S5. Ht. 134 in. Vulci. Canino Coll. no. 829. Mon. dell' Inst.
i, pi. 8 ; Panofka, Arch. Comm. zu Pans. pi. 3, 6, 6a ; Ann. dell' Inst. 1829, p. 284 ; Inghirami,
Gal. Omcr. iii, 96 ; Raoul-Rochette, Mon. hied, i, p. ^78 ; Ovcrbeck, Her. Bildw. pi. 32,
no. 8, p. 792, no. 67 ; Muller-Wic=eler, Denkm, d. alt. Kunst, ii, pi. 52, no. 667 (J>) ; Harrison,
Myths of the Odyssey, pi. 37 ; Engelmann-Anderson, Pictorial Alias to Homer, Odyssey, pi. 12,
fig. 64; Gerhard, Rnpp. Vole. p. 171, no. 656; Arclueologia, xxiii, p. 200; Bolte, De Monum.
ad Odyss. pert. p. 26 ; fahrbuch fiir Class. Phil. Suppl. xi, p. 5 14 (Euckenbach) ; Baumeister,
p. 1643, fig. 1700 (gives a) ; Harrison and MacColl, Greek Vase Paintings, pi. 30; Wernicke,
Lieblingsn. p. 8 ; C. I. Gr. 7bgj. For the name Himeropa, cf. Midler, Comment, boc. Gott.
vii, p. 91 ; Schrader, Die Sirenen, p. 74; Roscher, s.v. ; Krctschmer, Gr. Vaseninschr. p. 78.
Style of Brygos. Purple rigging of ship, wreaths, fillets, and inscriptions. Brown inner
markings, shading of the sea and sails, gunwale of boat, feathers of Sirens, earth in b, pinions
of wings, and skin of hare. Eye in archaic form (both angles slightly open). Each design
is enclosed in a panel, formed by (below) sets of three maeanders separated by chequer squares,
(above) tongue surmounting egg pattern, (at sides) net pattern. In b the design partly cuts
and is partly cut by the border at the top.
(a) The ship of Odysseus passing the Sirens. The sea is represented
by a narrow space in the foreground shaded in thinned black, and with a wavy
outline of the same colour. In this the ship moves to 1., propelled by oars, of
which six are seen on the port side ; the heads and shoulders of five bearded
rowers are visible above the gunwale ; the fourth and fifth are seated on the