DOI Page / Citation link:
https://doi.org/10.11588/diglit.4098#0493
448 MILANION AND ATALANTA.
A sepulchre near this contained a small terra cotta vase, on which
is painted, on a black ground, a winged youth in the act of running,
and holding a wreath in his left hand, with his right dropping some
golden apples before a female; who, although in the act of run-
ning, stops to pick them up, holding up her loose ample robe with
her left hand : her right wrist is adorned with the ocpig, or irepnutpmcci
answering to our bracelet. The winged figure is naked, and only
the back of the female is covered with her garment; they are
leukographic,1 or painted white; the accessories only being red, as
the peplos, the wreath, the apples, the wings, and the hair.
This evidently represents the story of Milanion and Atalanta, as
told by Apollodorus.3 She consented to marry any one, by whom
she was surpassed in the foot-race; but those of her lovers whom
she vanquished were to suffer death. Many perished in the con-
test, when Milanion, who had received some golden apples from
Venus, dropped them in the course; and while Atalanta, attracted
by the lure, stopped to pick them up, her lover reached the goal.
The fictile painter has represented them at the moment of com-
mencing this trial of speed. Mythographers tell us, that the suitor
was permitted to start first. Atalanta is probably represented with
her body naked, in order to develop the personal charms, and par-
ticularly the beauty of her thighs, for which she was celebrated by
the poets.3 The wings of Milanion denote extraordinary swiftness.
Milanion and Atalanta were both represented on the chest of
Cypselos, according to Pausanias.4 Hyginus pretends, that Ata-
janta was conquered in the race by Hipomene.5
In other sepulchres we found vases of oriental alabaster; they
have no base, are of an oblong form, and were probably libatory
vases, containing the oil or perfume with which the relations6 of the
1 Winckelmann, Hist, de l'Art, vol. 2. p. 144. 3 B. 5.
3 Ovid, Amor. b. 3. v. 29. * B. 5. c. 19. s Fab. 103.
6 Lucian, de luctu.
A sepulchre near this contained a small terra cotta vase, on which
is painted, on a black ground, a winged youth in the act of running,
and holding a wreath in his left hand, with his right dropping some
golden apples before a female; who, although in the act of run-
ning, stops to pick them up, holding up her loose ample robe with
her left hand : her right wrist is adorned with the ocpig, or irepnutpmcci
answering to our bracelet. The winged figure is naked, and only
the back of the female is covered with her garment; they are
leukographic,1 or painted white; the accessories only being red, as
the peplos, the wreath, the apples, the wings, and the hair.
This evidently represents the story of Milanion and Atalanta, as
told by Apollodorus.3 She consented to marry any one, by whom
she was surpassed in the foot-race; but those of her lovers whom
she vanquished were to suffer death. Many perished in the con-
test, when Milanion, who had received some golden apples from
Venus, dropped them in the course; and while Atalanta, attracted
by the lure, stopped to pick them up, her lover reached the goal.
The fictile painter has represented them at the moment of com-
mencing this trial of speed. Mythographers tell us, that the suitor
was permitted to start first. Atalanta is probably represented with
her body naked, in order to develop the personal charms, and par-
ticularly the beauty of her thighs, for which she was celebrated by
the poets.3 The wings of Milanion denote extraordinary swiftness.
Milanion and Atalanta were both represented on the chest of
Cypselos, according to Pausanias.4 Hyginus pretends, that Ata-
janta was conquered in the race by Hipomene.5
In other sepulchres we found vases of oriental alabaster; they
have no base, are of an oblong form, and were probably libatory
vases, containing the oil or perfume with which the relations6 of the
1 Winckelmann, Hist, de l'Art, vol. 2. p. 144. 3 B. 5.
3 Ovid, Amor. b. 3. v. 29. * B. 5. c. 19. s Fab. 103.
6 Lucian, de luctu.