DOI Page / Citation link:
https://doi.org/10.11588/diglit.4761#0307
3<X> CATALOGUE OF VASES.
hand as if beckoning to the child; along her r. arm she has a long staff
terminating in two forked ivy-branches. Her head and 1. shoulder are wanting.
Both the Nymphs wear an Ionic chiton and a mantle. Above Tethys, her name,
. . 0VJ Trf]0v<}. The thyrsos of the other Nymph has an ivy-shoot springing
upwards from near the butt.
(b) Jumper and ephebi. Between two draped ephebi, each with a long
staff or rod, a nude athlete, holding a jumping-weight (halter) in each hand,
prepares to jump to 1. The figure on 1. wears a fillet with straight piece over the
forehead. This figure.is much restored.
[For the form H as used for 'E or 'H, cf. Robert, Arch. Marchen, p. 198, note 1.]
E 493. FRAGMENT of a crater. Ht. ni in. Diam. about 14 in. Cameiros, 1864. Large
line style. Purple inscriptions. Below, a band of majander ; above on a moulding, egg pattern.
Perseus, Hermes, Athene, and sleeping Medusa. On 1. Medusa reclines
at full length upon a sloping rock, asleep, her eyes closed, her head en face,
1. forearm resting across her body ; her features are of the archaic type, the nose
broad and squat, the mouth wide, with four tusks projecting above and below,
the hair falling low over the forehead and arranged in a bunch over each ear ;
she wears a short chiton undergirt ; and has wings rising from her -shoulders and
spread out on either side. In the background behind her stands Hermes,
bearded, looking on, with chlamys and petasos ; most of this figure .is wanting ;
beside his head, on 1., are parts of what may be his caduccus. On the r. of
Medusa Perseus, beardless, with long hair, short chiton, wallet (kibisis) hanging
from his r. shoulder, winged endromides, and helmet of Hades, advances in a
stooping position with averted head, as if about to seize the head of Medusa
with his 1. and cut it off with the harpe in his r. hand ; his helmet is semicircular,
with the edge slightly curved outwards, and winged ; his body from waist to
knees, and both forearms are wanting. Beside him is inscribed his name,
rEPJEVS, Tlepcreu?. On the r. stands Athene, with chiton, himation fastened
on the 1. shoulder by a long pin with carved head, radiated stephane confining
her long hair, and earrings ; she has a spear resting against her 1. arm, and raises
her r. with a gesture of encouragement. Beside her, her name, A0ENAIA,
'Adr/vata.
E 494. FRAGMENTARY BELL-SHAPED CRATER. Ht. 10} in. Diam. 1 ft. 6} in. Old Plate XVX
No. F04*. Millingen Coll., 1847. Raoul-Rochette, Peint. Ant. Ined. pi. 6, p. 401, fob, published
the central fragments, without arriving at a definite explanation. He conjectured that the vase
had been made at Tarentum, and this has been accepted as a fact by a number of subsequent
writers who speak of the " Tarentinischc Fragmente." Gerhard, in Arch. Zcit. 1845, pb 35; %• -,
restores the figures of Heracles, the youth beside him and the female figures on the r. of Lichas
(cf. Arch. Zeit. 1847, P- 155)- Tne Brit. Mus. Catalogue of Vases (1851), under No. 804*,
accepts the explanation of the scene as that of Heracles sacrificing at the altar of Chryse, but
takes the name *IA02KET = Philoctetes as referring to the youth Lichas, whose name Ai[xas]
was not then legible. Michaelis in Ann. dell' Inst. 1857, p. 243, does not agree with the
view of the Brit. Mus. Catalogue as regards the application of the name " Philoctetes," but
thinks that it may rather have been meant to indicate in a general way the sacrifice in Chryse.
hand as if beckoning to the child; along her r. arm she has a long staff
terminating in two forked ivy-branches. Her head and 1. shoulder are wanting.
Both the Nymphs wear an Ionic chiton and a mantle. Above Tethys, her name,
. . 0VJ Trf]0v<}. The thyrsos of the other Nymph has an ivy-shoot springing
upwards from near the butt.
(b) Jumper and ephebi. Between two draped ephebi, each with a long
staff or rod, a nude athlete, holding a jumping-weight (halter) in each hand,
prepares to jump to 1. The figure on 1. wears a fillet with straight piece over the
forehead. This figure.is much restored.
[For the form H as used for 'E or 'H, cf. Robert, Arch. Marchen, p. 198, note 1.]
E 493. FRAGMENT of a crater. Ht. ni in. Diam. about 14 in. Cameiros, 1864. Large
line style. Purple inscriptions. Below, a band of majander ; above on a moulding, egg pattern.
Perseus, Hermes, Athene, and sleeping Medusa. On 1. Medusa reclines
at full length upon a sloping rock, asleep, her eyes closed, her head en face,
1. forearm resting across her body ; her features are of the archaic type, the nose
broad and squat, the mouth wide, with four tusks projecting above and below,
the hair falling low over the forehead and arranged in a bunch over each ear ;
she wears a short chiton undergirt ; and has wings rising from her -shoulders and
spread out on either side. In the background behind her stands Hermes,
bearded, looking on, with chlamys and petasos ; most of this figure .is wanting ;
beside his head, on 1., are parts of what may be his caduccus. On the r. of
Medusa Perseus, beardless, with long hair, short chiton, wallet (kibisis) hanging
from his r. shoulder, winged endromides, and helmet of Hades, advances in a
stooping position with averted head, as if about to seize the head of Medusa
with his 1. and cut it off with the harpe in his r. hand ; his helmet is semicircular,
with the edge slightly curved outwards, and winged ; his body from waist to
knees, and both forearms are wanting. Beside him is inscribed his name,
rEPJEVS, Tlepcreu?. On the r. stands Athene, with chiton, himation fastened
on the 1. shoulder by a long pin with carved head, radiated stephane confining
her long hair, and earrings ; she has a spear resting against her 1. arm, and raises
her r. with a gesture of encouragement. Beside her, her name, A0ENAIA,
'Adr/vata.
E 494. FRAGMENTARY BELL-SHAPED CRATER. Ht. 10} in. Diam. 1 ft. 6} in. Old Plate XVX
No. F04*. Millingen Coll., 1847. Raoul-Rochette, Peint. Ant. Ined. pi. 6, p. 401, fob, published
the central fragments, without arriving at a definite explanation. He conjectured that the vase
had been made at Tarentum, and this has been accepted as a fact by a number of subsequent
writers who speak of the " Tarentinischc Fragmente." Gerhard, in Arch. Zcit. 1845, pb 35; %• -,
restores the figures of Heracles, the youth beside him and the female figures on the r. of Lichas
(cf. Arch. Zeit. 1847, P- 155)- Tne Brit. Mus. Catalogue of Vases (1851), under No. 804*,
accepts the explanation of the scene as that of Heracles sacrificing at the altar of Chryse, but
takes the name *IA02KET = Philoctetes as referring to the youth Lichas, whose name Ai[xas]
was not then legible. Michaelis in Ann. dell' Inst. 1857, p. 243, does not agree with the
view of the Brit. Mus. Catalogue as regards the application of the name " Philoctetes," but
thinks that it may rather have been meant to indicate in a general way the sacrifice in Chryse.