DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.37251#0121
GALLERIA 26,26a 89
plaster): most of whole of lower part of body and drapery except extremity
ofj^/pj- on left; the rock.
The figure stands with her r. foot on a rock, and her head turned
to her r. She wears a rA/Aw, girt under the breasts and leaving the !.
bare, and a which crosses the body and is pressed against her 1.
side by her 1. arm and gathered over the 1. forearm ; the r. arm has
fallen away from the shoulder, and the front part of the 1. forearm is
missing. The contour of the head is a high full oval, and the forehead
high and triangular, the hair drawn back in rippling strands with rather
deep incisions and gathered behind into a knot that is tied back. The
general expression is girlish, but the breasts comparatively mature. It is
not possible to be sure of the personality, though the motive of the foot
would be suitable to Melpomene. It is a copy of a Greek type, perhaps
of the late fourth or early third century B.c.; high-girdling is more common
at the latter period. The original must have been a work of remarkable
grace and delicate rhythm.
Provenance unknown.
26 a. FRAGMENT OF RELIEF, WITH SCENE OF INITIATION (?)
(Pi- 31)-
H. -66 m., L. -42m. Marble, Unrestored.
The relief is divided into two fields by a ledge projecting from the
upper part of the rocky background of the lower scene. Upon this
ledge a nymph (?) sits on a square base; her lower limbs are covered by
an ample drapery; she leans on her 1. hand and with her r. she holds
against her knee a large mask of Seilenos which she has perhaps just
taken out of the large chest at her feet. This chest is shaped like a
shrine : it rests on four feet and is strengthened at the angles by a
scalloped band of metal; all round the lid are seen the edges of
a fringed clorh. At the back of the nymph a pillar on high base supports
a rectangular votive tablet, and behind the pillar are a couple of lovers :
a young satyr, who raises himself on tip-toe to kiss a girl. Opposite the
nymph with the mask, behind the chest, the upper part of a young satyr
holding two flutes is visible; action and pose recall those of one of the
Muses on the basis of Mantinea. The whole of the scene is overshadowed
by the leafy boughs of a huge plane-tree growing on the left. In the
lower held is a young satyr dancing whose movement recalls that of the
Myronian Marsyas, and immediately behind him are two other young
satyrs who stand in a parade attitude Gvith hands folded in front of them.
Behind again on a stone base is what appears to be a round <GAz ^ bound
with sashes; leaning against it are a thyrsos filled with fruit and an
ithyphallic Priapos with his back turned to the scene. The subject,
which is known from six replicas, including Museo Capitolino, TdfAu-g/z,
118 (cf. vol. i, p. 270") (for the list see Schreiber, rz'A), is difficult to
interpret, as even in the three most complete examples (this one, and the
replicas in Naples and in the Capitoline Museum) the 1. side is entirely
broken away, so that the object or person towards which the dancing
i Cf. tbe boys in the School scene from the underground basilica near Porta
Maggiore.
^ In the description in Vol. I the chest is wrongly called a temple or shrine and
the <GZa an altar.
plaster): most of whole of lower part of body and drapery except extremity
ofj^/pj- on left; the rock.
The figure stands with her r. foot on a rock, and her head turned
to her r. She wears a rA/Aw, girt under the breasts and leaving the !.
bare, and a which crosses the body and is pressed against her 1.
side by her 1. arm and gathered over the 1. forearm ; the r. arm has
fallen away from the shoulder, and the front part of the 1. forearm is
missing. The contour of the head is a high full oval, and the forehead
high and triangular, the hair drawn back in rippling strands with rather
deep incisions and gathered behind into a knot that is tied back. The
general expression is girlish, but the breasts comparatively mature. It is
not possible to be sure of the personality, though the motive of the foot
would be suitable to Melpomene. It is a copy of a Greek type, perhaps
of the late fourth or early third century B.c.; high-girdling is more common
at the latter period. The original must have been a work of remarkable
grace and delicate rhythm.
Provenance unknown.
26 a. FRAGMENT OF RELIEF, WITH SCENE OF INITIATION (?)
(Pi- 31)-
H. -66 m., L. -42m. Marble, Unrestored.
The relief is divided into two fields by a ledge projecting from the
upper part of the rocky background of the lower scene. Upon this
ledge a nymph (?) sits on a square base; her lower limbs are covered by
an ample drapery; she leans on her 1. hand and with her r. she holds
against her knee a large mask of Seilenos which she has perhaps just
taken out of the large chest at her feet. This chest is shaped like a
shrine : it rests on four feet and is strengthened at the angles by a
scalloped band of metal; all round the lid are seen the edges of
a fringed clorh. At the back of the nymph a pillar on high base supports
a rectangular votive tablet, and behind the pillar are a couple of lovers :
a young satyr, who raises himself on tip-toe to kiss a girl. Opposite the
nymph with the mask, behind the chest, the upper part of a young satyr
holding two flutes is visible; action and pose recall those of one of the
Muses on the basis of Mantinea. The whole of the scene is overshadowed
by the leafy boughs of a huge plane-tree growing on the left. In the
lower held is a young satyr dancing whose movement recalls that of the
Myronian Marsyas, and immediately behind him are two other young
satyrs who stand in a parade attitude Gvith hands folded in front of them.
Behind again on a stone base is what appears to be a round <GAz ^ bound
with sashes; leaning against it are a thyrsos filled with fruit and an
ithyphallic Priapos with his back turned to the scene. The subject,
which is known from six replicas, including Museo Capitolino, TdfAu-g/z,
118 (cf. vol. i, p. 270") (for the list see Schreiber, rz'A), is difficult to
interpret, as even in the three most complete examples (this one, and the
replicas in Naples and in the Capitoline Museum) the 1. side is entirely
broken away, so that the object or person towards which the dancing
i Cf. tbe boys in the School scene from the underground basilica near Porta
Maggiore.
^ In the description in Vol. I the chest is wrongly called a temple or shrine and
the <GZa an altar.