DOI Page / Citation link:
https://doi.org/10.11588/diglit.4761#0387
o
80 CATALOGUE OF VASES.
E 804-811. MISCELLANEOUS SHAPES.
E 804. VASE in form of knucklebone. Greatest length (side a) 6| in. Ht. 4! in. ^Egina.
Presented by the Earl of Aberdeen, i860. Stackclberg, Grdber der Hell. pi. 23 ; partially in
Schreiber, Kulturhist. Bilderatlas, pt. i, pi. 20, nos. 6-7 ; J. H. S. vol. 13, pp. 131-136, cut on
p. 135 [a and c) ■ Bolte, Mon. ad Odyss. pert. p. 37 ; Bull, dell' Inst. 1829, pp. yy, 125 ; Jahn,
Vascns. zu MUnchen, p. xxvi. The design occupies the two long flat sides (a and c), and
three figures are drawn on the upper side, and three on the end {/>). The surface has been
injured in parts (e.g. the figure of the man, the r. hand of the foremost girl, &c). At one end
of the long side (a) is an opening in the form of an archaic eye ; beside this the design starts.
Finest style. The hair over the forehead is usually arranged in rows of dots.
Dance of girls, (a) A bearded man, beside the opening of the vase, with
mantle wrapped around his waist, gesticulates with both arms to a band of
three girls who dance from the r. towards him with joined hands. The foremost
looks at him, the second looks back at the third, who is only half seen, her
figure being cut off by the edge of the vase. Each has a long sleeved chiton ;
the two foremost wear a mantle fastened on the 1. shoulder, and a saccos, which
in the case of the foremost is black.
(b) Two groups, each of three girls floating in air ; in the lower group, the
central figure, to 1., has a sphendone, her arms covered to the hands in her
sleeves ; the left-hand one, to i\, raises her skirt in both hands so as to form a
lap ; she has a saccos ; the third, to r., extends one arm on each side, looking
back at her companions ; she wears a stephane with dentated edge. In the
upper group the foremost, wearing a sphendone, raises the edge of the skirt with
her 1. and extends her r. The second has her arms covered with her sleeves,
and looks back at the third, whose arms are covered by her himation ; the
second and third have a saccos ; that of the. second is dotted with minute trefoils.
(c) Reverse of (a): Four girls floating in air to 1. The foremost has her arms
in her sleeves and looks back ; the second holds over the first in her r. a long
tendril with flower, and raises the edge of her skirt with her 1. hand; the third
extends her r.; the fourth raises her skirt with her r. hand and looks back ; her
drapery is dotted with minute trefoils ; all but the first have a saccos ; the
second and fourth have no girdle.
[These figures have been explained as " Hyades and Pleiades" (Stackelberg), and as
" Aurae " (Six in_/. H. S. loc. cit.). Pollux, iv, 103, describes dances imitating the flight of birds ;
6 Se liopcpaa-fios iravrohairav </ocoi/ jxijij]a-ii rjv ' f\v Se tl <al <TKa>ty ; and for mimetic dancing generally,
Lucian, De salt. 37 ff., and Xenophon, Symp. vii, 5. On the exterior of D 3 fragments of
similar figures are shown ; and on E 467 is a scene in which a chorus of girls dance to the
music of a flute-player. Six points out the analogy of (a) to the scenes with Hermes, the Charites
and the Cave of Pan. For the relation of the vase to the throws of an astragalus (xiov, koov,
wpdvrjs) see Six, ibid. ; his account however is at variance with that given in Smith, Diet. Anfi.
iij P- 759- ^ may ^>c merely by a coincidence that the total number of figures on this vase
amounts to 14, the number which in later times was the throw called basilieus.]
80 CATALOGUE OF VASES.
E 804-811. MISCELLANEOUS SHAPES.
E 804. VASE in form of knucklebone. Greatest length (side a) 6| in. Ht. 4! in. ^Egina.
Presented by the Earl of Aberdeen, i860. Stackclberg, Grdber der Hell. pi. 23 ; partially in
Schreiber, Kulturhist. Bilderatlas, pt. i, pi. 20, nos. 6-7 ; J. H. S. vol. 13, pp. 131-136, cut on
p. 135 [a and c) ■ Bolte, Mon. ad Odyss. pert. p. 37 ; Bull, dell' Inst. 1829, pp. yy, 125 ; Jahn,
Vascns. zu MUnchen, p. xxvi. The design occupies the two long flat sides (a and c), and
three figures are drawn on the upper side, and three on the end {/>). The surface has been
injured in parts (e.g. the figure of the man, the r. hand of the foremost girl, &c). At one end
of the long side (a) is an opening in the form of an archaic eye ; beside this the design starts.
Finest style. The hair over the forehead is usually arranged in rows of dots.
Dance of girls, (a) A bearded man, beside the opening of the vase, with
mantle wrapped around his waist, gesticulates with both arms to a band of
three girls who dance from the r. towards him with joined hands. The foremost
looks at him, the second looks back at the third, who is only half seen, her
figure being cut off by the edge of the vase. Each has a long sleeved chiton ;
the two foremost wear a mantle fastened on the 1. shoulder, and a saccos, which
in the case of the foremost is black.
(b) Two groups, each of three girls floating in air ; in the lower group, the
central figure, to 1., has a sphendone, her arms covered to the hands in her
sleeves ; the left-hand one, to i\, raises her skirt in both hands so as to form a
lap ; she has a saccos ; the third, to r., extends one arm on each side, looking
back at her companions ; she wears a stephane with dentated edge. In the
upper group the foremost, wearing a sphendone, raises the edge of the skirt with
her 1. and extends her r. The second has her arms covered with her sleeves,
and looks back at the third, whose arms are covered by her himation ; the
second and third have a saccos ; that of the. second is dotted with minute trefoils.
(c) Reverse of (a): Four girls floating in air to 1. The foremost has her arms
in her sleeves and looks back ; the second holds over the first in her r. a long
tendril with flower, and raises the edge of her skirt with her 1. hand; the third
extends her r.; the fourth raises her skirt with her r. hand and looks back ; her
drapery is dotted with minute trefoils ; all but the first have a saccos ; the
second and fourth have no girdle.
[These figures have been explained as " Hyades and Pleiades" (Stackelberg), and as
" Aurae " (Six in_/. H. S. loc. cit.). Pollux, iv, 103, describes dances imitating the flight of birds ;
6 Se liopcpaa-fios iravrohairav </ocoi/ jxijij]a-ii rjv ' f\v Se tl <al <TKa>ty ; and for mimetic dancing generally,
Lucian, De salt. 37 ff., and Xenophon, Symp. vii, 5. On the exterior of D 3 fragments of
similar figures are shown ; and on E 467 is a scene in which a chorus of girls dance to the
music of a flute-player. Six points out the analogy of (a) to the scenes with Hermes, the Charites
and the Cave of Pan. For the relation of the vase to the throws of an astragalus (xiov, koov,
wpdvrjs) see Six, ibid. ; his account however is at variance with that given in Smith, Diet. Anfi.
iij P- 759- ^ may ^>c merely by a coincidence that the total number of figures on this vase
amounts to 14, the number which in later times was the throw called basilieus.]