DOI Page / Citation link:
https://doi.org/10.11588/diglit.37251#0086
54
SALA DEI TRIONFI 6, 7
discovered at Ephesus (Heberdey in vii (1904), pp. 210, 215),
from the end of the first century B. c., in which mention is made of various
functionaries in charge of different parts of the goddess's wardrobe.
For the relation of this and other similar images to the cult statue in
the great Ephesian temple see C%/., vol. i, p. 159, on CoAwz&, no. 49.
The commonplace workmanship of the marble might be of almost
any period, but the bronze parts are better, and may belong to the early
Imperial age. The face is a rather heavy late derivation from a Praxi-
telean type; the pupils are incised and the hair somewhat carelessly waved.
The fingers are slender and delicate; the feet lack distinction.
Formerly in the Museo Capitolino, &z/<3 O^Azzz& (Gaddi, 1*70),
afterwards in AAzzza^ TD/vw <3 yzzzzk/rzz VTA until 1876 (cf. Baedeker, Cbzz/rzz/
7/%/y (i8yg), p. 182).
Inv. Albani, A 49.
Clarac, pt. 361, 1195, 1198; Mori, iv, Misc. 19; Armeilini, iii. 299 (who says
wrongly, as he does of Uo/c77Z<^g 49, that this was in the Chigi collection); Menrer,
2?^'772. A/7z7. xxix (1914), p. 201 ; V. Muller, AfZ/Z. xxxiv (1919), p. too.
Alin. 6034; And. 1666; M. 22501.
7. THREE-SIDED BASIS OF CANDELABRUM (below Ephesian
Artemis) (pi. 67).
H. t-o^m. Pentelic marble. Unrestored.
The slab which supports the modern basis of the Ephesian Diana is itself likewise
modern.
The three panels in low relief are separated by a small bead orna-
ment. They are supported by three winged claw-feet adorned with
chimaera heads (cf. the rhyton, Or/. AAzwz., no. 2g). Between them is a
scroll-ornament, terminating underneath in palmettes flanked by lotus-
buds and rosettes, and below this a circular moulded column base which
stands on a triangular plinth with two steps.
On the panel to which the central position is now assigned is a
Maenad beating a which she holds up in front of her. She
advances to r. on tiptoe with 1. leg forward; her hair is loosened and her
head thrown back in ecstasy. Her thin chiton is fastened only on the
shoulders and leaves her r. side bare. The same type reappears on the
rhyton mentioned above, but with thyrsus instead of /rwA^Kwr
On the panel to r. of the Maenad, Dionysus advances on tiptoe to r.
in what appears to be a dance measure, with his panther running alongside.
A step is being taken with the r. foot which consequently bears the weight
of the body, while the 1. leg is bent back from the knee with the foot lifted
almost vertically from the ground. Round his neck is a panther skin which
he holds out on his extended 1. arm; in his 1*. hand he carries the thyrsus.
On the 1. panel is a satyr playing the double flute, as he advances
on tip-toe to r. with r. leg forward. The mouthpiece of the flute is
secured by straps tied behind the head; he has a long tail and pointed
ears, and over his 1. shoulder wears a panther's skin, the ends of which
are carved on the background with good decorative effect. The steps of
Maenads and satyrs are rhythmic like those of the god.
The style of these reliefs is good and they belong to the best Neo-
Attic period (see also on Or/. A/Azvz., nos. 2 and 2g). The types are
frequently reproduced throughout the Imperial age. The sharpness of
SALA DEI TRIONFI 6, 7
discovered at Ephesus (Heberdey in vii (1904), pp. 210, 215),
from the end of the first century B. c., in which mention is made of various
functionaries in charge of different parts of the goddess's wardrobe.
For the relation of this and other similar images to the cult statue in
the great Ephesian temple see C%/., vol. i, p. 159, on CoAwz&, no. 49.
The commonplace workmanship of the marble might be of almost
any period, but the bronze parts are better, and may belong to the early
Imperial age. The face is a rather heavy late derivation from a Praxi-
telean type; the pupils are incised and the hair somewhat carelessly waved.
The fingers are slender and delicate; the feet lack distinction.
Formerly in the Museo Capitolino, &z/<3 O^Azzz& (Gaddi, 1*70),
afterwards in AAzzza^ TD/vw <3 yzzzzk/rzz VTA until 1876 (cf. Baedeker, Cbzz/rzz/
7/%/y (i8yg), p. 182).
Inv. Albani, A 49.
Clarac, pt. 361, 1195, 1198; Mori, iv, Misc. 19; Armeilini, iii. 299 (who says
wrongly, as he does of Uo/c77Z<^g 49, that this was in the Chigi collection); Menrer,
2?^'772. A/7z7. xxix (1914), p. 201 ; V. Muller, AfZ/Z. xxxiv (1919), p. too.
Alin. 6034; And. 1666; M. 22501.
7. THREE-SIDED BASIS OF CANDELABRUM (below Ephesian
Artemis) (pi. 67).
H. t-o^m. Pentelic marble. Unrestored.
The slab which supports the modern basis of the Ephesian Diana is itself likewise
modern.
The three panels in low relief are separated by a small bead orna-
ment. They are supported by three winged claw-feet adorned with
chimaera heads (cf. the rhyton, Or/. AAzwz., no. 2g). Between them is a
scroll-ornament, terminating underneath in palmettes flanked by lotus-
buds and rosettes, and below this a circular moulded column base which
stands on a triangular plinth with two steps.
On the panel to which the central position is now assigned is a
Maenad beating a which she holds up in front of her. She
advances to r. on tiptoe with 1. leg forward; her hair is loosened and her
head thrown back in ecstasy. Her thin chiton is fastened only on the
shoulders and leaves her r. side bare. The same type reappears on the
rhyton mentioned above, but with thyrsus instead of /rwA^Kwr
On the panel to r. of the Maenad, Dionysus advances on tiptoe to r.
in what appears to be a dance measure, with his panther running alongside.
A step is being taken with the r. foot which consequently bears the weight
of the body, while the 1. leg is bent back from the knee with the foot lifted
almost vertically from the ground. Round his neck is a panther skin which
he holds out on his extended 1. arm; in his 1*. hand he carries the thyrsus.
On the 1. panel is a satyr playing the double flute, as he advances
on tip-toe to r. with r. leg forward. The mouthpiece of the flute is
secured by straps tied behind the head; he has a long tail and pointed
ears, and over his 1. shoulder wears a panther's skin, the ends of which
are carved on the background with good decorative effect. The steps of
Maenads and satyrs are rhythmic like those of the god.
The style of these reliefs is good and they belong to the best Neo-
Attic period (see also on Or/. A/Azvz., nos. 2 and 2g). The types are
frequently reproduced throughout the Imperial age. The sharpness of