DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14697#0212
1050
Appendix G
1847 i. 214—217 that scenes representing Eros and Psyche passed from
pagan to Christian sarcophagi ((1) R. Garrucci Storia della Arte cristiana
nei primi otto secoli della cliiesa Prato 1879 v. 12 f. pi. 302, 2—5, J. Ficker Die
altchristlichen Bildwerke int christlichen Museum des Laterans Leipzig 1890
no. 181, W. Lowrie Christian Art and Archaeology New York 1901 p. 254 fig. 93,
L. von Sybel Christliche Aiitike Marburg 1909 ii. 44, 70, 72, 98 n. 1, 103 n. 1,
194, 226 fig. 45, C. M. Kaufmann Handbuch der christlichen Archdologie Pader-
born 1913 p. 498 fig. 193 = a marble sarcophagus, found near the catacomb of
Praetextatus and now preserved in the Lateran Museum : it dates from the end
of s. iii or the beginning of s. iv A.D. and shows on its main face the Good
Shepherd, thrice repeated (bearded in centre, beardless to right and left), amid
a vintage of Erotes, which includes a Psyche with butterfly-wings bringing grapes
to an Eros with bird-wings. (2) A. Bosio Roma Sotterranea Roma 1632 p. 75
fig., G. Bottari Sculture epitture sagre estratte dai cimiterj di Ro?na Roma 1737
i. 105 pi. 28 f., E. Z. Platner Beschreibung der Stadt Rom Stuttgart 1830—1842
ii. 1. 192 f. =a marble sarcophagus from the Vatican catacomb, now under an
altar in the chapel of the Madonna della Colonna in St. Peter's : Christ, amid
the apostles, adored by a man and his wife ; beneath, a large lamb flanked by
twelve smaller lambs ; behind, vines and two palm-trees (phoenix on left palm);
Christ stands in front of a gateway, the arch of which has a Psyche with
butterfly-wings on the left, a wingless Eros with torch on the right. [But R.
Garrucci op. cit. v. 50 f. pi. 327, 2—4 shows that these figures really represent
Sol and Luna respectively.] (3) J. B. L. G. Se"roux d'Agincourt Histoire de FArt
par les monumens Paris 1823 iii Sculpture p. 4 pi. 4, 3, 5 = a sarcophagus from
the catacomb of S. Pietro e Marcellino (Torrepignatarra) : the column which
divides the front bears a relief of Eros embracing Psyche ; the inscription
reads Zacinie cesque (for quiesce) in pace. (4) E. Z. Platner op. cit. iii. 2. 450 -
a sarcophagus in the Convent of S. Agnese at Rome : both ends show Eros and
Psyche with reed and urn to betoken water, and a cornu copiae for earth, beneath
them ; the centre has inlaid a Christian medallion of S. Agnese. [(5) R. Garrucci
op. cit. v. 138 pi. 395, 3, L. von Sybel Christliche Antike Marburg 1909 ii. 96
fig. 11 = a fragmentary sarcophagus-Y\d from the catacomb of S. Callisto at Rome
with a medallion supported by two Erotes, adjoining which is the group of Eros
and Psyche.] Indeed, early Christian art made constant use of Erotes, winged
or wingless, in a variety of motifs derived from classical sources (see the examples
collected by L. von Sybel Christliche Antike Marburg 1906 i col. pi. 1, 2, 169 fig.,
175 f. with 176 n. 1, 179, 1909 ii. 96 n. 3). Eros still figured largely in Byzantine
carvings and paintings {e.g. O. M. Dalton Byzantine Art and Archaeology Oxford
1911 p. 216 fig. 130, p. 281 fig. 171). He survived in the putto of the early
renaissance (F. Wickhoff 'Die Gestalt Amors in der Phantasie des jtalienischen
Mittelalters' in the Jahrbuch der kbniglichen preussischen Kunstsammlungen
1890 xi. 41—53, S. Weber Die Entwicklung des Putto in der Plastik der
Friihrenaissance Heidelberg 1898, O. Waser in Pauly—Wissowa Real-Enc. vi.
516), and is still recognizable on our valentines and Christmas-cards.
It would seem, then, that from first to last Eros was simply and essentially
a soul-type. If we raise the further question—Whose soul was represented by
the Orphic Eros?—, we get an uncertain reply. According to the early Orphic
scheme {supra pp. 1020, 1034), golden-winged Eros sprang from the egg laid
by black-winged Nyx 'Epe(3ovs...ev aire'ipoo-i koKttols (Aristoph. av. 695). But
who was the consort of Nyx? We are not definitely told. Presumably it was
Erebos (so in Hes. theog. 123 ff., Akousilaos frag. 1 {Frag. hist. Gr. i. 100
Appendix G
1847 i. 214—217 that scenes representing Eros and Psyche passed from
pagan to Christian sarcophagi ((1) R. Garrucci Storia della Arte cristiana
nei primi otto secoli della cliiesa Prato 1879 v. 12 f. pi. 302, 2—5, J. Ficker Die
altchristlichen Bildwerke int christlichen Museum des Laterans Leipzig 1890
no. 181, W. Lowrie Christian Art and Archaeology New York 1901 p. 254 fig. 93,
L. von Sybel Christliche Aiitike Marburg 1909 ii. 44, 70, 72, 98 n. 1, 103 n. 1,
194, 226 fig. 45, C. M. Kaufmann Handbuch der christlichen Archdologie Pader-
born 1913 p. 498 fig. 193 = a marble sarcophagus, found near the catacomb of
Praetextatus and now preserved in the Lateran Museum : it dates from the end
of s. iii or the beginning of s. iv A.D. and shows on its main face the Good
Shepherd, thrice repeated (bearded in centre, beardless to right and left), amid
a vintage of Erotes, which includes a Psyche with butterfly-wings bringing grapes
to an Eros with bird-wings. (2) A. Bosio Roma Sotterranea Roma 1632 p. 75
fig., G. Bottari Sculture epitture sagre estratte dai cimiterj di Ro?na Roma 1737
i. 105 pi. 28 f., E. Z. Platner Beschreibung der Stadt Rom Stuttgart 1830—1842
ii. 1. 192 f. =a marble sarcophagus from the Vatican catacomb, now under an
altar in the chapel of the Madonna della Colonna in St. Peter's : Christ, amid
the apostles, adored by a man and his wife ; beneath, a large lamb flanked by
twelve smaller lambs ; behind, vines and two palm-trees (phoenix on left palm);
Christ stands in front of a gateway, the arch of which has a Psyche with
butterfly-wings on the left, a wingless Eros with torch on the right. [But R.
Garrucci op. cit. v. 50 f. pi. 327, 2—4 shows that these figures really represent
Sol and Luna respectively.] (3) J. B. L. G. Se"roux d'Agincourt Histoire de FArt
par les monumens Paris 1823 iii Sculpture p. 4 pi. 4, 3, 5 = a sarcophagus from
the catacomb of S. Pietro e Marcellino (Torrepignatarra) : the column which
divides the front bears a relief of Eros embracing Psyche ; the inscription
reads Zacinie cesque (for quiesce) in pace. (4) E. Z. Platner op. cit. iii. 2. 450 -
a sarcophagus in the Convent of S. Agnese at Rome : both ends show Eros and
Psyche with reed and urn to betoken water, and a cornu copiae for earth, beneath
them ; the centre has inlaid a Christian medallion of S. Agnese. [(5) R. Garrucci
op. cit. v. 138 pi. 395, 3, L. von Sybel Christliche Antike Marburg 1909 ii. 96
fig. 11 = a fragmentary sarcophagus-Y\d from the catacomb of S. Callisto at Rome
with a medallion supported by two Erotes, adjoining which is the group of Eros
and Psyche.] Indeed, early Christian art made constant use of Erotes, winged
or wingless, in a variety of motifs derived from classical sources (see the examples
collected by L. von Sybel Christliche Antike Marburg 1906 i col. pi. 1, 2, 169 fig.,
175 f. with 176 n. 1, 179, 1909 ii. 96 n. 3). Eros still figured largely in Byzantine
carvings and paintings {e.g. O. M. Dalton Byzantine Art and Archaeology Oxford
1911 p. 216 fig. 130, p. 281 fig. 171). He survived in the putto of the early
renaissance (F. Wickhoff 'Die Gestalt Amors in der Phantasie des jtalienischen
Mittelalters' in the Jahrbuch der kbniglichen preussischen Kunstsammlungen
1890 xi. 41—53, S. Weber Die Entwicklung des Putto in der Plastik der
Friihrenaissance Heidelberg 1898, O. Waser in Pauly—Wissowa Real-Enc. vi.
516), and is still recognizable on our valentines and Christmas-cards.
It would seem, then, that from first to last Eros was simply and essentially
a soul-type. If we raise the further question—Whose soul was represented by
the Orphic Eros?—, we get an uncertain reply. According to the early Orphic
scheme {supra pp. 1020, 1034), golden-winged Eros sprang from the egg laid
by black-winged Nyx 'Epe(3ovs...ev aire'ipoo-i koKttols (Aristoph. av. 695). But
who was the consort of Nyx? We are not definitely told. Presumably it was
Erebos (so in Hes. theog. 123 ff., Akousilaos frag. 1 {Frag. hist. Gr. i. 100