DOI Page / Citation link:
https://doi.org/10.11588/diglit.14699#0047
Floating Islands
1009
2a)(rt/3toff Iv rois irep\ ra>v iv AaKtSaipovi Bvaiiov ypa(p(ov ovtws ' 1iv ravrrj avp.l3aiveL
tovs fiiv airo TTjs x&>pas Kcikapois o-T«pavovo-8at ij orXcyyi'Si (cp. Plout. inst.
jLac. 32 crrXfyyiaiv ov o-ihrjpnis aWa Kakaplvais i^po3VTo\ tovs d* €k rrjs ayayrjs
■n-rilftas <io-Te(j>ava>Tovs aKoXovddv'). Another ritual link between Lakonike and
Lydia is noted by L. Stephani, who observes in the Compte-rendu St. Pe't. 1865
pp. 31, 58 that the cult of Artemis 'Opdla at Sparta involved a \v8£>v nop.iri]
(Plout. v. Aristid. 17. Cp. the case of Artemis Kopfiara at Olympia (Paus. 6. 22.
I with H. Hitzig—H. Blumner ad loc.)).
Three dancing-girls in like attire surmounted the very beautiful acanthus-
column of Pentelic (not Parian) marble, which stood on the north side of the
Sacred Way at Delphoi, close to the votive offerings of the Syracusan princes.
Arranged back to back round a central stem, the girls supported the le'bes of the
bronze tripod whose legs rested upon the leafy capital. This group of dainty
light-footed damsels in some ways anticipates the art of Praxiteles. Indeed,
T. Homolle in the Rev. Arch. 1917 i. 31—67 figs. 1—6 was prepared to regard
it as a contemporary replica of the Praxitelean 'figures called Thyiades and
Karyatides' later to be seen in the gallery of Asinius Pollio (Plin. nat. hist. 36. 23).
But C. Praschniker Zur Geschichte des Akroters Briinn 1929 p. 48 f. has shown
that the Dancers' Column was found in the same deposit as the Charioteer, i.e.
in the debris caused by the earthquake of 373 B.C., and should therefore be
accepted as pre-Praxitelean and referred to a date perhaps as early as the late
fifth century (S. Casson in the Journ. Hell. Stud. 1932 Hi. 133). In any case we
may admit that the Delphian dancers with their crowns of 'sharp-ribbed
rushes' are a composition of infinite grace, which forms a later {c. 400 B.C.)
variation on the saltantes Lacacnae designed by Kallimachos and owes its
ultimate inspiration to the halathishos-dancers of the Lydian lake-side. See
further the Foiiilles de Delphcs ii. 1 pi. 15 (the column restored by A. Tournaire,
with tripod-legs supported by dancers), iv. 2 pis. 60 (the dancers = my fig. 818),
61 (the dancers, another view), 62 (head of one dancer in profile), E. Bourguet
Les mines de Delphes Paris 1914 pp. 188 —192 fig. 63 f., F. Poulsen Delphi
trans. G. C. Richards London 1920 pp. 246—264 figs. 113—128, and especially
H. Pomtow 'Die Tjinzerinnen-Saule in Delphi' in the Jahrb. d. kais. deutsch.
arch. Inst. 1920 xxxv. 113—128 with figs. 1 ( = my fig. 819), 2—6, who is followed
by A. Rumpf in H. Haas Bildcratlas zur Religionsgeschichte Leipzig 1928
xiii—xiv fig. 128.
A gold earring in the F. L. von Gans collection of the Berlin Antiquarium
further attests the popularity of the motif m the fourth century B.C. It represents
a dancing-girl with short chiton and high kdlathos: her left arm is raised, her
right is missing {Aintliche Berichtt aus den k'bnigl. Kunstsammlungen (Beiblatt
zum Jahrbuch der Icbniglichcn preussischen Kunstsammlungen) 1913 xxxv. 76
with fig. 37 C).
A bronze statuette, formerly in the Greau collection, again shows a dancing-
girl with short chitd?i and basket-like head-dress (Reinach Rep. Stat. iv. 242
no. 9) after W. Froehner Collection Julien Greau. Bronzes Paris 1891 pi. 95),
as does a Hellenistic terracotta in the Louvre (J. Charbonneaux Les Terres
cuites Grecques London 1936 pp. 23, 50 fig. 54, Ejicyclope'die photographiquc
de I'Art Paris 1937 ii. 199 with text by Mme Massoul). But examples of the
type ' in the round' are rare, for terra-cotta dolls from Myrina with elaborate
head-dress {Brit. Mus. Cat. Terracottas p. 243 no. C 522 pi. 35, Mendel Cat.
Fig. gr. de Terre Cuite Constantinople p. 378 f. no. 2640 pi. 8, 6) are hardly to
be classed as halathishos-diLncers.
64—2
1009
2a)(rt/3toff Iv rois irep\ ra>v iv AaKtSaipovi Bvaiiov ypa(p(ov ovtws ' 1iv ravrrj avp.l3aiveL
tovs fiiv airo TTjs x&>pas Kcikapois o-T«pavovo-8at ij orXcyyi'Si (cp. Plout. inst.
jLac. 32 crrXfyyiaiv ov o-ihrjpnis aWa Kakaplvais i^po3VTo\ tovs d* €k rrjs ayayrjs
■n-rilftas <io-Te(j>ava>Tovs aKoXovddv'). Another ritual link between Lakonike and
Lydia is noted by L. Stephani, who observes in the Compte-rendu St. Pe't. 1865
pp. 31, 58 that the cult of Artemis 'Opdla at Sparta involved a \v8£>v nop.iri]
(Plout. v. Aristid. 17. Cp. the case of Artemis Kopfiara at Olympia (Paus. 6. 22.
I with H. Hitzig—H. Blumner ad loc.)).
Three dancing-girls in like attire surmounted the very beautiful acanthus-
column of Pentelic (not Parian) marble, which stood on the north side of the
Sacred Way at Delphoi, close to the votive offerings of the Syracusan princes.
Arranged back to back round a central stem, the girls supported the le'bes of the
bronze tripod whose legs rested upon the leafy capital. This group of dainty
light-footed damsels in some ways anticipates the art of Praxiteles. Indeed,
T. Homolle in the Rev. Arch. 1917 i. 31—67 figs. 1—6 was prepared to regard
it as a contemporary replica of the Praxitelean 'figures called Thyiades and
Karyatides' later to be seen in the gallery of Asinius Pollio (Plin. nat. hist. 36. 23).
But C. Praschniker Zur Geschichte des Akroters Briinn 1929 p. 48 f. has shown
that the Dancers' Column was found in the same deposit as the Charioteer, i.e.
in the debris caused by the earthquake of 373 B.C., and should therefore be
accepted as pre-Praxitelean and referred to a date perhaps as early as the late
fifth century (S. Casson in the Journ. Hell. Stud. 1932 Hi. 133). In any case we
may admit that the Delphian dancers with their crowns of 'sharp-ribbed
rushes' are a composition of infinite grace, which forms a later {c. 400 B.C.)
variation on the saltantes Lacacnae designed by Kallimachos and owes its
ultimate inspiration to the halathishos-dancers of the Lydian lake-side. See
further the Foiiilles de Delphcs ii. 1 pi. 15 (the column restored by A. Tournaire,
with tripod-legs supported by dancers), iv. 2 pis. 60 (the dancers = my fig. 818),
61 (the dancers, another view), 62 (head of one dancer in profile), E. Bourguet
Les mines de Delphes Paris 1914 pp. 188 —192 fig. 63 f., F. Poulsen Delphi
trans. G. C. Richards London 1920 pp. 246—264 figs. 113—128, and especially
H. Pomtow 'Die Tjinzerinnen-Saule in Delphi' in the Jahrb. d. kais. deutsch.
arch. Inst. 1920 xxxv. 113—128 with figs. 1 ( = my fig. 819), 2—6, who is followed
by A. Rumpf in H. Haas Bildcratlas zur Religionsgeschichte Leipzig 1928
xiii—xiv fig. 128.
A gold earring in the F. L. von Gans collection of the Berlin Antiquarium
further attests the popularity of the motif m the fourth century B.C. It represents
a dancing-girl with short chiton and high kdlathos: her left arm is raised, her
right is missing {Aintliche Berichtt aus den k'bnigl. Kunstsammlungen (Beiblatt
zum Jahrbuch der Icbniglichcn preussischen Kunstsammlungen) 1913 xxxv. 76
with fig. 37 C).
A bronze statuette, formerly in the Greau collection, again shows a dancing-
girl with short chitd?i and basket-like head-dress (Reinach Rep. Stat. iv. 242
no. 9) after W. Froehner Collection Julien Greau. Bronzes Paris 1891 pi. 95),
as does a Hellenistic terracotta in the Louvre (J. Charbonneaux Les Terres
cuites Grecques London 1936 pp. 23, 50 fig. 54, Ejicyclope'die photographiquc
de I'Art Paris 1937 ii. 199 with text by Mme Massoul). But examples of the
type ' in the round' are rare, for terra-cotta dolls from Myrina with elaborate
head-dress {Brit. Mus. Cat. Terracottas p. 243 no. C 522 pi. 35, Mendel Cat.
Fig. gr. de Terre Cuite Constantinople p. 378 f. no. 2640 pi. 8, 6) are hardly to
be classed as halathishos-diLncers.
64—2