DOI Page / Citation link:
https://doi.org/10.11588/diglit.5674#0143
(136)
her head inclined on her left shoulder. On this occasion it
is to be remarked, that the Bacchantes, when they preten-
ded to be inspired , never failed to throw about their
heads in such a manner as though they had been convul-
sed: it was then, that they were called Reptauchenes.
Plate 49.) According to Suidas and the Scholiast of Ari-
stophanes, most of the Courtizans of Athens came to Brau-
ron during the festival of the brauren Bacchus, so called were
celebrating from the name of the village. This occasioned
scandalous scenes of licentiousness. The group represented
in this plate, may probably be one of them . The com-
position of the figures in this plate are wonderfully fine,
and must certainly have been originally taken from one
of the most celebrated matters of the Grecian school ,
w hich w as undoubtedly the case with respect to the excel-
lent drawings on many of the vases of this collestion.
Plate 50.) This plate represents the master of the Choir,
a flute player and a man playing on the lyre , three
personages, who probably preceeded the Choir , either at
the time of its going to the orchesixa , or perhaps at the
time of the evolutions , that they were obliged to make
often bet\x een the a6ts. It is known, that at the first Stro-
pha of verses, which the Choir sung, it went from right
to lest, at the first Antistropha from fest to right, then
it ssopped and turned towards the spe&ators. According
to the verses of Ephippus, cited by Atheneus(a), the ancients
were very fond of the union of the lyre and ssute, and
in the representation of dramatic pieces, there was a mo-
ment , in which they had the pleasure of hearing pieces exe-
cuted by these instruments alone without the voices •, the
Choral songs., were generally preceeded by a Prelude of
Musick
(a) Lib. XIV. C. XL
her head inclined on her left shoulder. On this occasion it
is to be remarked, that the Bacchantes, when they preten-
ded to be inspired , never failed to throw about their
heads in such a manner as though they had been convul-
sed: it was then, that they were called Reptauchenes.
Plate 49.) According to Suidas and the Scholiast of Ari-
stophanes, most of the Courtizans of Athens came to Brau-
ron during the festival of the brauren Bacchus, so called were
celebrating from the name of the village. This occasioned
scandalous scenes of licentiousness. The group represented
in this plate, may probably be one of them . The com-
position of the figures in this plate are wonderfully fine,
and must certainly have been originally taken from one
of the most celebrated matters of the Grecian school ,
w hich w as undoubtedly the case with respect to the excel-
lent drawings on many of the vases of this collestion.
Plate 50.) This plate represents the master of the Choir,
a flute player and a man playing on the lyre , three
personages, who probably preceeded the Choir , either at
the time of its going to the orchesixa , or perhaps at the
time of the evolutions , that they were obliged to make
often bet\x een the a6ts. It is known, that at the first Stro-
pha of verses, which the Choir sung, it went from right
to lest, at the first Antistropha from fest to right, then
it ssopped and turned towards the spe&ators. According
to the verses of Ephippus, cited by Atheneus(a), the ancients
were very fond of the union of the lyre and ssute, and
in the representation of dramatic pieces, there was a mo-
ment , in which they had the pleasure of hearing pieces exe-
cuted by these instruments alone without the voices •, the
Choral songs., were generally preceeded by a Prelude of
Musick
(a) Lib. XIV. C. XL