DOI Page / Citation link:
https://doi.org/10.11588/diglit.14699#0041
Floating Islands
1003
pi. 2, 21 ( = my fig. 814) Paris, H. von Fritze in Nomisma 1909 iii pi. 2, 20 Paris,
K. Regling Die atitike Miinse als Kunsfoverk Berlin 1924 pp. 71, 84 no. 493
pi. 22, Babelon Monn. gr. rom. ii. 4. S97 f. pi. 335, 15 Paris, C. Seltman Greek
Coins London 1933 p. 144 pi. 28, 13 Berlin).
Closely related to these numismatic examples are the dancers carved on two
slabs of Pentelic marble, which were brought from Italy to Berlin in 1892 (figs.
815, 816 are from C. Bliimel Staatliche Museen zu Berlin: Katalog der
Sammlung antiker Skulptnren Berlin 1931 iv. 45 f. nos. K 184 and 185 pi. 77,
cp. F. Weege Der Tanz in der Antike Halle/Saale 1926 p. 45 figs. 48 and 49).
The more complete relief measures o'95"' high by o'54m broad ; the less complete,
0'8om high by o'56'" broad. It seems probable that, like three similar but frag-
mentary reliefs at Athens (H. Schrader Pliidias Frankfurt am .Main 1924 p. 346
figs. 315, 316), they were intended for mural decoration. The reliefs at Berlin
exhibit such delicious freshness and abandon that R. Kekule, who first published
them in the Jahrb. d. kais. deutsch. arch. Inst. 1893 viii Arch. Anz. p. 76 with two
figs., did not hesitate to regard them as Attic work dating from the earlier half of
s. v B.C. (cp. M. Sauerlandt Criechische Bild-werke Dusseldorf—Leipzig p. x ' aus
dem Anfange des v. jahrhunderts v. Chr.,'KurzeBeschreibungderantiken Skulp-
tnren im Atten Museum- Berlin—Leipzig 1920 p. 90 no. 1456 f. pi. 26 ' Griechische
Werke des 5. Jh. v. Chr.', F. Weege op. cit. p. 45 'aus demselben Kunstleratelier
der 5. Jahrh. v. Chr.'). But Furtwiingler Masteipieces of Gk. Sculpture p. 438 n. 3
with greater circumspection claims that they are only 'good specimens of the
so-called later Attic school, by no means genuine archaic works' (cp. id. Ueber
Statuenkopieen im Alterthum Miinchen 1896 i. 4 n. 3 { = Abk. d. bayer. Akad.
1896 Philos.-philol. Classe xx. 528 n. 3).
If so, they must be ranked with the kalal/iiskos-da.ncers of Arretine ware
(c. 150B.C.—50 A.D.) discussed by H. Dragendorff in the Bonner Jahrbiicher 1895
xcvi—xcvii. 58 ff. A skyphos from Capua has four dancers grouped in pairs.
Between the two pairs is a small Eros standing on a pillar, and between the
dancers of the right-hand pair is a thymiate'rion (H. Dragendorff loc. cit. figs. 14,
14 a after Riccio Notizie dcgli scavamenti uel suolo dell' antica Capua Napoli
1855 pi. 5). A fragmentary mould found at Arezzo in 1896 and now in the British
Museum shows four girls likewise dancing in pairs and wearing a head-dress
of open wicker-work. Above them runs a wreath to which festoons are looped
up with large bows. Between the pairs of dancers a flower springs from the
ground (Brit. Mus. Cat. Horn. Pottery p. 34 no. L 108, H. B. Walters History of
Ancient Pottery London 1905 ii. 493 f. pi. 66, 5). Another specimen, in the Loeb
collection, has a very similar dancer standing between two bases (?) with a festoon
fastened to bucrania behind her and a flower or flowering rush (?) at her feet
(F. Weege op. cit. pp. 45, 48 with fig. 51 after G. H. Chase Guide to Loeb
Collection of Arretine Pottery Harvard University no. 53 pi. 3). Another mould
Fig. 813.
Fig. 814.
1003
pi. 2, 21 ( = my fig. 814) Paris, H. von Fritze in Nomisma 1909 iii pi. 2, 20 Paris,
K. Regling Die atitike Miinse als Kunsfoverk Berlin 1924 pp. 71, 84 no. 493
pi. 22, Babelon Monn. gr. rom. ii. 4. S97 f. pi. 335, 15 Paris, C. Seltman Greek
Coins London 1933 p. 144 pi. 28, 13 Berlin).
Closely related to these numismatic examples are the dancers carved on two
slabs of Pentelic marble, which were brought from Italy to Berlin in 1892 (figs.
815, 816 are from C. Bliimel Staatliche Museen zu Berlin: Katalog der
Sammlung antiker Skulptnren Berlin 1931 iv. 45 f. nos. K 184 and 185 pi. 77,
cp. F. Weege Der Tanz in der Antike Halle/Saale 1926 p. 45 figs. 48 and 49).
The more complete relief measures o'95"' high by o'54m broad ; the less complete,
0'8om high by o'56'" broad. It seems probable that, like three similar but frag-
mentary reliefs at Athens (H. Schrader Pliidias Frankfurt am .Main 1924 p. 346
figs. 315, 316), they were intended for mural decoration. The reliefs at Berlin
exhibit such delicious freshness and abandon that R. Kekule, who first published
them in the Jahrb. d. kais. deutsch. arch. Inst. 1893 viii Arch. Anz. p. 76 with two
figs., did not hesitate to regard them as Attic work dating from the earlier half of
s. v B.C. (cp. M. Sauerlandt Criechische Bild-werke Dusseldorf—Leipzig p. x ' aus
dem Anfange des v. jahrhunderts v. Chr.,'KurzeBeschreibungderantiken Skulp-
tnren im Atten Museum- Berlin—Leipzig 1920 p. 90 no. 1456 f. pi. 26 ' Griechische
Werke des 5. Jh. v. Chr.', F. Weege op. cit. p. 45 'aus demselben Kunstleratelier
der 5. Jahrh. v. Chr.'). But Furtwiingler Masteipieces of Gk. Sculpture p. 438 n. 3
with greater circumspection claims that they are only 'good specimens of the
so-called later Attic school, by no means genuine archaic works' (cp. id. Ueber
Statuenkopieen im Alterthum Miinchen 1896 i. 4 n. 3 { = Abk. d. bayer. Akad.
1896 Philos.-philol. Classe xx. 528 n. 3).
If so, they must be ranked with the kalal/iiskos-da.ncers of Arretine ware
(c. 150B.C.—50 A.D.) discussed by H. Dragendorff in the Bonner Jahrbiicher 1895
xcvi—xcvii. 58 ff. A skyphos from Capua has four dancers grouped in pairs.
Between the two pairs is a small Eros standing on a pillar, and between the
dancers of the right-hand pair is a thymiate'rion (H. Dragendorff loc. cit. figs. 14,
14 a after Riccio Notizie dcgli scavamenti uel suolo dell' antica Capua Napoli
1855 pi. 5). A fragmentary mould found at Arezzo in 1896 and now in the British
Museum shows four girls likewise dancing in pairs and wearing a head-dress
of open wicker-work. Above them runs a wreath to which festoons are looped
up with large bows. Between the pairs of dancers a flower springs from the
ground (Brit. Mus. Cat. Horn. Pottery p. 34 no. L 108, H. B. Walters History of
Ancient Pottery London 1905 ii. 493 f. pi. 66, 5). Another specimen, in the Loeb
collection, has a very similar dancer standing between two bases (?) with a festoon
fastened to bucrania behind her and a flower or flowering rush (?) at her feet
(F. Weege op. cit. pp. 45, 48 with fig. 51 after G. H. Chase Guide to Loeb
Collection of Arretine Pottery Harvard University no. 53 pi. 3). Another mould
Fig. 813.
Fig. 814.