DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.786#0113
chap, xxxvii.] ETRUSCAN URNS IN THE UFFIZJ. 97
of women, with flute, lyre, and Pandean pipes, sit on the
cliffs of their fatal island. Here is a scene where " the
King of men"—lo gran Duca de' Greci, as Dante terms
him—is about to immolate his virgin-daughter—
Onde pianse Ifigenia il suo bel volto,
E fe pianger di se e i folli e i savi,
Ch' udir parlar di cosi fatto colto.
And there you may see Clytemnestra slain on her
guilty couch ; the avengers of Hood, according to this
version of the legend, being three! On another urn
Orestes and Pylades are represented sitting as victims,
with their hands bound, at an altar ; the libation is poured
on their heads, and the sword is raised by the priestesses
of Diana. On a fourth urn the drama is advanced another
step. Iphigenia discovers it is her brother she is about to
sacrifice, and she stands leaning on his head, with her
hands clasped, in deep dejection, hesitating between love
and duty. The second priestess has still her weapon
raised to slay Pylades; and a third brings in a tray with
libations and offerings. The daughter of Agamemnon is
naked ; but her fellows are attired in all respects like the
Lasas and Furies, commonly represented in Etruscan
funeral scenes. This monument is in a very superior style
of art to most of its neighbours.
The subjects on others of these monuments are not
easy of explanation.7 One urn is in the shape of a little
7 In one case a man, sitting on an a female Fury, or Fate, stands behind
altar, is about to slay a child in his lap, him, with her weapon raised, as if to
to the great alarm of two females ; some smite them. In one strange combat, a
armed men rush up to the rescue. A minstrel-boy with a lyre mingles in the
temple is represented behind, in per- fray. In another, a warrior drags a
spective. Some are battle-scenes. A female, not an Amazon, from her cha-
<piadrir/a is upset—old Charun, " griesly riot—the horses are trampling on a
gnm," seizes one of the horses by the fallen man, and a Fury directs their
ear and nose—a man strikes at them course. Here, two combatants are sepa-
with one of the broken wheels—and rated by a female demon rushing between
VOL. H. H
of women, with flute, lyre, and Pandean pipes, sit on the
cliffs of their fatal island. Here is a scene where " the
King of men"—lo gran Duca de' Greci, as Dante terms
him—is about to immolate his virgin-daughter—
Onde pianse Ifigenia il suo bel volto,
E fe pianger di se e i folli e i savi,
Ch' udir parlar di cosi fatto colto.
And there you may see Clytemnestra slain on her
guilty couch ; the avengers of Hood, according to this
version of the legend, being three! On another urn
Orestes and Pylades are represented sitting as victims,
with their hands bound, at an altar ; the libation is poured
on their heads, and the sword is raised by the priestesses
of Diana. On a fourth urn the drama is advanced another
step. Iphigenia discovers it is her brother she is about to
sacrifice, and she stands leaning on his head, with her
hands clasped, in deep dejection, hesitating between love
and duty. The second priestess has still her weapon
raised to slay Pylades; and a third brings in a tray with
libations and offerings. The daughter of Agamemnon is
naked ; but her fellows are attired in all respects like the
Lasas and Furies, commonly represented in Etruscan
funeral scenes. This monument is in a very superior style
of art to most of its neighbours.
The subjects on others of these monuments are not
easy of explanation.7 One urn is in the shape of a little
7 In one case a man, sitting on an a female Fury, or Fate, stands behind
altar, is about to slay a child in his lap, him, with her weapon raised, as if to
to the great alarm of two females ; some smite them. In one strange combat, a
armed men rush up to the rescue. A minstrel-boy with a lyre mingles in the
temple is represented behind, in per- fray. In another, a warrior drags a
spective. Some are battle-scenes. A female, not an Amazon, from her cha-
<piadrir/a is upset—old Charun, " griesly riot—the horses are trampling on a
gnm," seizes one of the horses by the fallen man, and a Fury directs their
ear and nose—a man strikes at them course. Here, two combatants are sepa-
with one of the broken wheels—and rated by a female demon rushing between
VOL. H. H