DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14696#0307
at Delphoi
245
in the second Hamilton collection shows Dionysos seated with Ariadne, while' a young
Satyr stands before them : all three are wreathed with bay ; Dionysos has a bay-garland
slung round his body, Ariadne a bay-branch behind her chair; both sit beneath festoons
of bay (Tischbein Hamilton Vases ii. 78 f. pi. 45, Reinach Rip. Vases ii. 302, 4). Dionysos
appears elsewhere wreathed with bay, e.g. on a red-figured vase in the first Hamilton
collection ([P. F. Hugues, dit d'Hancarville] Antiquites itrusques, grecques ei romaines
Naples 1766 i pi. 104), in a wall-painting [Monumenti amaranziani illustrati del mar-
chese Luigi Biondi Roma 1849 P^- 29)' anc^ 011 c°ins of Pantikapaion, Phanagoreia, and
Gorgippeia struck under Mithradates vi Eupator, who himself took the title of Dionysos
(E. H. Minns Scythians and Greeks Cambridge 1913 p. 629 pi. 6, 8 f., pi. 9, 16 f., 23 f. ;
T. Reinach Mithridate Eupator Paris 1890 pp. 49, 262, 277). Another red-figured vase
in the first Hamilton collection represents the infant Dionysos held by a Nymph seated
on a rock : before her stands Hermes, behind her a second Nymph, who carries a sprig
of bay for the child's brows (Inghirami Vas. fitt. ii. 133 pi. 194); cp. the Nymph (?)
seated on a rock, who wreathes the infant Dionysos in a wall-painting from the Villa
Farnesina (W. Helbig Fiihrer dttrch die offentlichen Sammlungen klassischer Altertiimer
in Rom3 Leipzig 1913 ii. 207 f. no. 1477, A. Mau in the Ann. d. Inst. 1885 lvii. 310 f.,
A/on. d. Inst, xii pis. 18 (coloured) and 20, G. Rodenwaldt Die Koinpositioti der pompe-
jantschen Wandgemdlde Berlin 1909 p. 38). An ivory relief at Milan makes a Maenad
hold a bay-wreath towards young Dionysos riding in a car drawn by two panthers
(E. Gerhard in the Arch. Zeit. 1846 iv. 219 pi. 38, supra i. 153 n. 5). See further
L. Stephani in the Compte-rendu St. Pit. i86r p. 59 n. 2.
5 The evidence cited by F. Lenormant in Daremberg—Saglio Diet. Ant. i. 618
n. 931 f. is illusive. But better grounds are given by Farnell Cults of Gk. States v. 253—256.
A red-figured kylix attributed to Brygos, now in the Cabinet des Medailles at Paris
(no. 697, published by P. Hartwig Die griechischen Meisterschalen Stuttgart und Berlin
1893 p. 3096°. pis. 32, 33, 1, J. E. Harrison—D. S. MacColl Greek Vase Paintings
London 1894 p. 25 pi. 38, Farnell op. cit. v. 264 pi. 44), has for its inner design an ivy-
wreathed Dionysos playing the lyre and singing an orgiastic song as he stands between
two Satyrs, who with a flourish of vine-shoots and castanets share in the ecstasy of his
performance. A red-figured krater from Ruvo, now at Naples (no. 3240, supra i. 701
n. 4), shows Dionysos and Ariadne advancing in the midst of their t/uasos, all wreathed
with ivy ; he carries a tortoise-shell lyre. Another famous vase from Ruvo, the Apulian
kratir representing the obsequies of Archemoros (Heydemann Vasensa/uml. Neapel
p. 584 ff. no. 3255, E. Gerhard 'Archemoros und die Hesperiden ' in the Abh. d. berl.
Akad. 1836 Phil.-hist. Classe pp. 251 ff., 359 ff. pis. 1—4 ( = id. Gesammelte akademische
Abhandlungen Berlin 1866 i. 1—98 pis. 1—4) and also in the Noitv. Attn. 1836 i.
352—356 with pis. 5 f., id. II vaso dalV Archemoro Roma 1837 pp. 1—4 pis. 1—3,
Inghirami Vas. fit. iv. 98 ff. pis. 371—373, Overbeck Gall. her. Bildw. i. 1146". Atlas
pi. 4, 3, supra i. 456 n. 5), includes in the top left-hand corner of its principal face the
figure of Dionysos reclining on cushions and a skin spread over vine-leaves beneath a
vine-branch : he holds in his left hand a lyre, in his right a phidle, which a young Satyr
is about to fill; below him stands Euneos, eponym of the Euneidai, an Athenian clan of
KidapLpdoi or KidapicrraL (Harpokr. s.v. EiWiScu, Hesych. s.v. EiWtScu, cp. Phot. lex. s.v.
EiWiScu, et. mag. p. 393, 35 ff., Eustath. in II. p. 1327, 41 f.), who appear to have been
hereditary priests of Dionysos MeXTro^eeos ( Corp. inscr. Att. iii. 1 no. 274 an inscription
of the Hadrianic age on a seat in the theatre at Athens iepeus I Me\wo/u.evou | Atouvaov \
0- Evv€l8wv) . It is therefore a reasonable suggestion (Gerhard Ant. Bildw. p. 240) that
Dionysos ~Me\w6fj.evos (on whom see Welcker Gr. Gotterl. ii. 611, iii. 153, id. Alt. Denkm.
iii. 130 f., Preller—Robert Gr. Myth. i. 675 n. 4, 7iof., O. Hofer in Roscher Lex. Myth.
ii. 2649 f., Gruppe Gr. Myth. Pel. pp. 36, 829 n. 3, 1421 n. 2, 1428 n. 10, Farnell Cults
of Gk. States v. 143, 254^, 307) was conceived as a lyre-player. The marble statue of
a seated Dionysos from the choragic monument dedicated by Thrasyllos in 320 B.C. and
reconstructed by his son Thrasykles in 270 B.C. probably represented the god with a lyre,
the base of which rested on his left thigh {Brit. Mus. Cat. Sculpture i. 257 ff. no. 432,
245
in the second Hamilton collection shows Dionysos seated with Ariadne, while' a young
Satyr stands before them : all three are wreathed with bay ; Dionysos has a bay-garland
slung round his body, Ariadne a bay-branch behind her chair; both sit beneath festoons
of bay (Tischbein Hamilton Vases ii. 78 f. pi. 45, Reinach Rip. Vases ii. 302, 4). Dionysos
appears elsewhere wreathed with bay, e.g. on a red-figured vase in the first Hamilton
collection ([P. F. Hugues, dit d'Hancarville] Antiquites itrusques, grecques ei romaines
Naples 1766 i pi. 104), in a wall-painting [Monumenti amaranziani illustrati del mar-
chese Luigi Biondi Roma 1849 P^- 29)' anc^ 011 c°ins of Pantikapaion, Phanagoreia, and
Gorgippeia struck under Mithradates vi Eupator, who himself took the title of Dionysos
(E. H. Minns Scythians and Greeks Cambridge 1913 p. 629 pi. 6, 8 f., pi. 9, 16 f., 23 f. ;
T. Reinach Mithridate Eupator Paris 1890 pp. 49, 262, 277). Another red-figured vase
in the first Hamilton collection represents the infant Dionysos held by a Nymph seated
on a rock : before her stands Hermes, behind her a second Nymph, who carries a sprig
of bay for the child's brows (Inghirami Vas. fitt. ii. 133 pi. 194); cp. the Nymph (?)
seated on a rock, who wreathes the infant Dionysos in a wall-painting from the Villa
Farnesina (W. Helbig Fiihrer dttrch die offentlichen Sammlungen klassischer Altertiimer
in Rom3 Leipzig 1913 ii. 207 f. no. 1477, A. Mau in the Ann. d. Inst. 1885 lvii. 310 f.,
A/on. d. Inst, xii pis. 18 (coloured) and 20, G. Rodenwaldt Die Koinpositioti der pompe-
jantschen Wandgemdlde Berlin 1909 p. 38). An ivory relief at Milan makes a Maenad
hold a bay-wreath towards young Dionysos riding in a car drawn by two panthers
(E. Gerhard in the Arch. Zeit. 1846 iv. 219 pi. 38, supra i. 153 n. 5). See further
L. Stephani in the Compte-rendu St. Pit. i86r p. 59 n. 2.
5 The evidence cited by F. Lenormant in Daremberg—Saglio Diet. Ant. i. 618
n. 931 f. is illusive. But better grounds are given by Farnell Cults of Gk. States v. 253—256.
A red-figured kylix attributed to Brygos, now in the Cabinet des Medailles at Paris
(no. 697, published by P. Hartwig Die griechischen Meisterschalen Stuttgart und Berlin
1893 p. 3096°. pis. 32, 33, 1, J. E. Harrison—D. S. MacColl Greek Vase Paintings
London 1894 p. 25 pi. 38, Farnell op. cit. v. 264 pi. 44), has for its inner design an ivy-
wreathed Dionysos playing the lyre and singing an orgiastic song as he stands between
two Satyrs, who with a flourish of vine-shoots and castanets share in the ecstasy of his
performance. A red-figured krater from Ruvo, now at Naples (no. 3240, supra i. 701
n. 4), shows Dionysos and Ariadne advancing in the midst of their t/uasos, all wreathed
with ivy ; he carries a tortoise-shell lyre. Another famous vase from Ruvo, the Apulian
kratir representing the obsequies of Archemoros (Heydemann Vasensa/uml. Neapel
p. 584 ff. no. 3255, E. Gerhard 'Archemoros und die Hesperiden ' in the Abh. d. berl.
Akad. 1836 Phil.-hist. Classe pp. 251 ff., 359 ff. pis. 1—4 ( = id. Gesammelte akademische
Abhandlungen Berlin 1866 i. 1—98 pis. 1—4) and also in the Noitv. Attn. 1836 i.
352—356 with pis. 5 f., id. II vaso dalV Archemoro Roma 1837 pp. 1—4 pis. 1—3,
Inghirami Vas. fit. iv. 98 ff. pis. 371—373, Overbeck Gall. her. Bildw. i. 1146". Atlas
pi. 4, 3, supra i. 456 n. 5), includes in the top left-hand corner of its principal face the
figure of Dionysos reclining on cushions and a skin spread over vine-leaves beneath a
vine-branch : he holds in his left hand a lyre, in his right a phidle, which a young Satyr
is about to fill; below him stands Euneos, eponym of the Euneidai, an Athenian clan of
KidapLpdoi or KidapicrraL (Harpokr. s.v. EiWiScu, Hesych. s.v. EiWtScu, cp. Phot. lex. s.v.
EiWiScu, et. mag. p. 393, 35 ff., Eustath. in II. p. 1327, 41 f.), who appear to have been
hereditary priests of Dionysos MeXTro^eeos ( Corp. inscr. Att. iii. 1 no. 274 an inscription
of the Hadrianic age on a seat in the theatre at Athens iepeus I Me\wo/u.evou | Atouvaov \
0- Evv€l8wv) . It is therefore a reasonable suggestion (Gerhard Ant. Bildw. p. 240) that
Dionysos ~Me\w6fj.evos (on whom see Welcker Gr. Gotterl. ii. 611, iii. 153, id. Alt. Denkm.
iii. 130 f., Preller—Robert Gr. Myth. i. 675 n. 4, 7iof., O. Hofer in Roscher Lex. Myth.
ii. 2649 f., Gruppe Gr. Myth. Pel. pp. 36, 829 n. 3, 1421 n. 2, 1428 n. 10, Farnell Cults
of Gk. States v. 143, 254^, 307) was conceived as a lyre-player. The marble statue of
a seated Dionysos from the choragic monument dedicated by Thrasyllos in 320 B.C. and
reconstructed by his son Thrasykles in 270 B.C. probably represented the god with a lyre,
the base of which rested on his left thigh {Brit. Mus. Cat. Sculpture i. 257 ff. no. 432,