Cook, Arthur B.: Zeus: a study in ancient religion (Band 1): Zeus god of the bright sky (Cambridge, 1914)

The Satyric Drama

701

representing preparations for a Satyr-play1. In this group the
Satyrs, both on and off the stage, have equine tails like the
Sz/e/ioi2, but hairy loin-cloths which may be meant for stylised
goat-skins3. Later again, but descended from the same original,
are a famous krater at Naples painted c. 400 B.C.4 and a con-
temporary krater at Deepdene (pi. xxxix, 2)5. Here too the

1 M. Bieber loc. cit. was the first to detect that the vase at Athens and its replicas at
Bonn are but ' ein ziemlich gedankenloses Excerpt aus einer grosseren und besseren
Vorlage.' We may venture, on the strength of the Naples krater {infra n. 4), to con-
jecture that this original was a fresco by Polygnotos, whose fondness for figures arranged
at different levels is notorious (see e.g. H. B. Walters History of Ancient Pottery London
1905 i. 441 ff.).

2 Supra p. 696 f. A. Furtwangler Winckelmannsfest-Progr. Berlin xl. 25 ( = Kleine
Schriften MUnchen 1912 i. 207) cites Ktesias frag. 57 (p. 86 f. Midler) ap. Phot. bibl.
p. 45 a 20 ff. cod. Mon. 287 ev 5e rrj avrrj 'IvdiKy eis tov /J-vxbv ttjs irekaias (ireXayias
Hceschel) vrjaov <paai tovs ivoiKovpras /cd/ce? ovpas ?xeLV ^yiaras, biroias 8iaypd(povaL r&v
1,arvpwv, cp. Ptol. 8. 3 ravras oi Karexovres ovpas ?xeip Xeyovrcu, OTroias 5iaypa<povcri ras
tCov ~Za.Tvpwv.

3 The ' Radornament' (Bieber) on the loin-cloth is perhaps a conventional rendering
of a patchy skin.

4 Heydemann Vasensamml. Neapel p. 546 ff. no. 3240, J. de Witte in the Ann. d.
Inst. 1841 xiii. 303 ff., Mon. d. Inst, iii pi. 31, B. Arnold in Baumeister Denkm. i. 385,
388ff. pi. 5 fig. 422, Reinach Rip. Vases i. 114, E. Kuhnert in Roscher Lex. Myth.
iv. 496 ff. fig. 13.

5 Tischbein Hamilton Vases i. i22f. pi. 39, Reinach Rep. Vases ii. 288, 5. I have
again to thank Mr E. M. W. Tillyard for the accompanying photograph and notes:

' Lucanian Bell-Kraler. Height '325111. Well-preserved except that the varnish is
beginning slightly to flake off. The clay is of a rich, salmon-pink colour and the varnish
deep black and rather metallic in appearance. The shape shows the middle development
of the bell-krater, being neither broad nor elongated. Above is a laurel-wreath pattern
of the usual type with small and carefully drawn leaves. Below is a band of double
maeanders in pairs divided by saltire-squares. At each handle-base is a reserved band
with black tongues painted on it.

The obverse shows three young comic actors. They all wear close-fitting leathern
loin-cloths, into which are fixed large phalloi. The actor on the right being in profile,
it is possible to see that he also wears a small tail, whether of a horse or a goat it is a
little difficult to say. On the side of each loin-cloth is a little ornament like a four-
spoked wheel. All three actors have masks. The one on the right wears his, and, with
his hands clapped to the small of his back and his right leg kicked back, strikes a comic
attitude. The other two stand in easy attitudes, holding their masks in their hand. On
the right, on the ground, is a tympanum, seen obliquely. On the reverse are three
Manteljiingl inge.

The vase is of Lucanian fabric and dates from about the end of the fifth century.
In style it is considerably under Attic influence and is descended directly from the class
of early South Italian vases which Furtwangler thought might have come from the Attic
colonies in Italy and which Hauser later proved to be connected with Heraclea1. The
drawing is very easy and careful.

The vase belonged to the second Hamilton Collection and has been already published
by Tischbein2. The present reproduction is from a new photograph. The vase is now
in the Hope Collection.

1 FRH II. p. 264.

'z I. pi. 39. Reproduced on a small scale in Wieseler Thcatergebaude pi. VI. 3.'

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