DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.4761#0292
CALYX-FORM CRATERS. 285
mantle covering her body and 1. arm, a necklace, and a stephane with long rays ;
her hair is knotted behind. On the r. (over the handle) is another hill-top,
surmounted by a stunted pine-tree, beside which the morning star (Eosphoros,
Lucifer), represented as a wreathed boy with heavy mantle hanging from his 1.
shoulder and arm, moves rapidly to the r., looking back at Eos, and raising his
r. hand in surprise ; his feet and his r. leg from the knee arc concealed behind
the hill-top.
[This figure can hardly be Hesperos, who usually holds a torch, and is regarded as
the bringer of night. That he is an important star is shown by his antithesis to Selene ; his
looking back at Eos and Kephalos would suit the story of his parentage given in Hesiod,
Theog. 381,987. Such cases of prolepsis are familiar among vase-paintings.]
(6) Continuing the scene, on the 1. four stars, as nude boys, are shown in
various stages of setting in the rippling waves on the seashore. One, as a diver
with extended arms, plunges headlong into the waves ; a second stands en face
on a small pinnacle of rock, raising his arms as if about to plunge ; a third,
already in the waves, swims to r., hand over hand, looking back at the last; and
a fourth, who stands waist-high in the water, extends his arms as if about to
dive beneath the surface to the 1. ; he looks to r., where, spreading over the
whole of this side of the vase, the chariot of Helios, drawn by four winged
horses, springs forward and upward out of the sea. Helios, a beardless but full-
grown man, with large radiated disc as background for his head, with short
chiton, leaving r. shoulder free, and mantle flying from both shoulders, leans
slightly back in his chariot, with his weight on the reins, held in each hand, as
if restraining his horses ; in his r. he holds also a goad. Each pair of reins
is bound together at regular intervals ; the chariot is decorated with floral
ornaments ; the horses have collars and bridles studded with white beads.
E 467. CRATER. Old No. 1265. Ht. 19J in. Diam. 19I in. Altemura. J. H. S. vol. xi,
pll. II, 12, p. 278 ; Rom. Mittheil. vi. (1891), p. 273. Late stage of fine style. Purple flames
of thunderbolt and fillets. Brown inner markings and wash for panther-skin. The design
forms two friezes around the body, divided by a band composed of pairs of masanders separated
by red cross squares ; and a band of the same pattern below a and b occupy the obv. and rev.
of the upper frieze, and have nothing between them at either end ; c is below a and d below b ;
between c and d at each end is a double palmetto, forming an ornament behind the handles.
Above the design is a moulding with conventionalised dart and lotus pattern.
{a) The making of Pandora. Pandora stands en face in the centre, a stiff
and lifeless but complete figure of a woman, in long Doric chiton with
apoptygma, fastened on each shoulder with a pin, with long hair and with a
dotted fillet; her feet are close together, her hands at sides, each holding a wreath.
Beside her, on ]., Athene, in similar dress, with hair looped up, stephane, spear
resting against her 1. shoulder, holds out in both hands towards Pandora a
wreath. Next on 1. is Poseidon, bearded and wreathed, in an himation, with
trident upright in 1. and r. resting on his hip ; he stands en face, but looks to 1. at
Zeus, who, similarly dressed and wreathed, is seated towards him in a chair,
holding sceptre in 1. and thunderbolt in r. Behind him Iris stands looking on,
mantle covering her body and 1. arm, a necklace, and a stephane with long rays ;
her hair is knotted behind. On the r. (over the handle) is another hill-top,
surmounted by a stunted pine-tree, beside which the morning star (Eosphoros,
Lucifer), represented as a wreathed boy with heavy mantle hanging from his 1.
shoulder and arm, moves rapidly to the r., looking back at Eos, and raising his
r. hand in surprise ; his feet and his r. leg from the knee arc concealed behind
the hill-top.
[This figure can hardly be Hesperos, who usually holds a torch, and is regarded as
the bringer of night. That he is an important star is shown by his antithesis to Selene ; his
looking back at Eos and Kephalos would suit the story of his parentage given in Hesiod,
Theog. 381,987. Such cases of prolepsis are familiar among vase-paintings.]
(6) Continuing the scene, on the 1. four stars, as nude boys, are shown in
various stages of setting in the rippling waves on the seashore. One, as a diver
with extended arms, plunges headlong into the waves ; a second stands en face
on a small pinnacle of rock, raising his arms as if about to plunge ; a third,
already in the waves, swims to r., hand over hand, looking back at the last; and
a fourth, who stands waist-high in the water, extends his arms as if about to
dive beneath the surface to the 1. ; he looks to r., where, spreading over the
whole of this side of the vase, the chariot of Helios, drawn by four winged
horses, springs forward and upward out of the sea. Helios, a beardless but full-
grown man, with large radiated disc as background for his head, with short
chiton, leaving r. shoulder free, and mantle flying from both shoulders, leans
slightly back in his chariot, with his weight on the reins, held in each hand, as
if restraining his horses ; in his r. he holds also a goad. Each pair of reins
is bound together at regular intervals ; the chariot is decorated with floral
ornaments ; the horses have collars and bridles studded with white beads.
E 467. CRATER. Old No. 1265. Ht. 19J in. Diam. 19I in. Altemura. J. H. S. vol. xi,
pll. II, 12, p. 278 ; Rom. Mittheil. vi. (1891), p. 273. Late stage of fine style. Purple flames
of thunderbolt and fillets. Brown inner markings and wash for panther-skin. The design
forms two friezes around the body, divided by a band composed of pairs of masanders separated
by red cross squares ; and a band of the same pattern below a and b occupy the obv. and rev.
of the upper frieze, and have nothing between them at either end ; c is below a and d below b ;
between c and d at each end is a double palmetto, forming an ornament behind the handles.
Above the design is a moulding with conventionalised dart and lotus pattern.
{a) The making of Pandora. Pandora stands en face in the centre, a stiff
and lifeless but complete figure of a woman, in long Doric chiton with
apoptygma, fastened on each shoulder with a pin, with long hair and with a
dotted fillet; her feet are close together, her hands at sides, each holding a wreath.
Beside her, on ]., Athene, in similar dress, with hair looped up, stephane, spear
resting against her 1. shoulder, holds out in both hands towards Pandora a
wreath. Next on 1. is Poseidon, bearded and wreathed, in an himation, with
trident upright in 1. and r. resting on his hip ; he stands en face, but looks to 1. at
Zeus, who, similarly dressed and wreathed, is seated towards him in a chair,
holding sceptre in 1. and thunderbolt in r. Behind him Iris stands looking on,