DOI Page / Citation link:
https://doi.org/10.11588/diglit.37251#0323
GALLERIA SUPERIORE II. 5 a—III. 1
285
5 a. SQUARE BASIS WITH RELIEFS (pi. 113).
H. -y8 m. Luna marble. Restored (on the front panel) : head, 1. lower arm
with lower part of comucopiae. Part of top moulding.
The front of the base shows a figure of Fortune seated three-quarter
1. in a high-backed chair, and clad in a r/zz'/wz girt under the breasts and
slipping off the r. shoulder. An Az'wrz/zhzz is wrapped round the lower
limbs, and shoes are worn. The r. hand is extended with the rudder-
paddle, while the 1. holds the comucopiae, the two regular attributes of
the goddess.
On each side are a pair of crossed comucopiae with a raz/zz^zzy in the
centre.
On the back is a jug adorned with griffins in relief) and a yWzTvz
(both imitating embossed metal-work) on either side of a rudder-paddle.
The base is a fair example of careful Roman work of the first century of
the Empire.
Tofanelli, rz'z*., no. 5; Armellini, i. 86 ; Reinach, AWziz/r, iii. 186. 2-4.
III. BRONZES^
1. TRIPLE-BODIED HECATE (pi. 114).
H. (without base) -256 m.
Each figure is complete in itself. The three stand back to back with
a space in the middle suggesting that they were grouped round a column.
(1) The ends of the girdle, knotted in front, are visible. On her
head is the Mithraic Phrygian cap with long solar rays. In her 1. hand
she holds a snake, in her r. a dagger of which only the handle is preserved.
(2) Wears a diadem with a crescent and a lotus flower, the attributes
of Isis. In either hand she holds a torch.
(3) On her head is a broad wreath of laurel fastened by a large
circular medallion. In her r. hand is a key, in her 1. a coiled rope—pre-
sumably attributes of Hecate as doorkeeper of Hades.
The figures all stand in the same position with the r. knee bent, head
lowered and turned to r., and two curls on the shoulders, and each wears
a long rAzz^zz with heavy folds between the legs, and overfall girt under the
breasts and falling to the hips. The treatment of the drapery is slightly
varied in each figure, and in (2) it is pulled over the girdle, forming ani-
mated folds.
Alcamenes seems to have been the first to create the type of the triple
Hecate (Paus. ii. 30. 2). But in the present example the attributes show
the influence of later religious syncretism. The torches show her as
moon-goddess, the snake and dagger recall her affinity to the Erinys,
whilst the key and rope are emblematic of her functions as guardian of
the gates of the under-world. Courcelle-Sureuil (A <r. zzpOw) suggests,
however, that the three forms should be identified respectively with Hera,
Eileithyia, and Epona.
The work, which was originally gilded, is good and careful, and per-
fectly preserved. Patina, dark green.
* The provenances, where not stated, are unknown.
285
5 a. SQUARE BASIS WITH RELIEFS (pi. 113).
H. -y8 m. Luna marble. Restored (on the front panel) : head, 1. lower arm
with lower part of comucopiae. Part of top moulding.
The front of the base shows a figure of Fortune seated three-quarter
1. in a high-backed chair, and clad in a r/zz'/wz girt under the breasts and
slipping off the r. shoulder. An Az'wrz/zhzz is wrapped round the lower
limbs, and shoes are worn. The r. hand is extended with the rudder-
paddle, while the 1. holds the comucopiae, the two regular attributes of
the goddess.
On each side are a pair of crossed comucopiae with a raz/zz^zzy in the
centre.
On the back is a jug adorned with griffins in relief) and a yWzTvz
(both imitating embossed metal-work) on either side of a rudder-paddle.
The base is a fair example of careful Roman work of the first century of
the Empire.
Tofanelli, rz'z*., no. 5; Armellini, i. 86 ; Reinach, AWziz/r, iii. 186. 2-4.
III. BRONZES^
1. TRIPLE-BODIED HECATE (pi. 114).
H. (without base) -256 m.
Each figure is complete in itself. The three stand back to back with
a space in the middle suggesting that they were grouped round a column.
(1) The ends of the girdle, knotted in front, are visible. On her
head is the Mithraic Phrygian cap with long solar rays. In her 1. hand
she holds a snake, in her r. a dagger of which only the handle is preserved.
(2) Wears a diadem with a crescent and a lotus flower, the attributes
of Isis. In either hand she holds a torch.
(3) On her head is a broad wreath of laurel fastened by a large
circular medallion. In her r. hand is a key, in her 1. a coiled rope—pre-
sumably attributes of Hecate as doorkeeper of Hades.
The figures all stand in the same position with the r. knee bent, head
lowered and turned to r., and two curls on the shoulders, and each wears
a long rAzz^zz with heavy folds between the legs, and overfall girt under the
breasts and falling to the hips. The treatment of the drapery is slightly
varied in each figure, and in (2) it is pulled over the girdle, forming ani-
mated folds.
Alcamenes seems to have been the first to create the type of the triple
Hecate (Paus. ii. 30. 2). But in the present example the attributes show
the influence of later religious syncretism. The torches show her as
moon-goddess, the snake and dagger recall her affinity to the Erinys,
whilst the key and rope are emblematic of her functions as guardian of
the gates of the under-world. Courcelle-Sureuil (A <r. zzpOw) suggests,
however, that the three forms should be identified respectively with Hera,
Eileithyia, and Epona.
The work, which was originally gilded, is good and careful, and per-
fectly preserved. Patina, dark green.
* The provenances, where not stated, are unknown.