DOI Page / Citation link:
https://doi.org/10.11588/diglit.7897#0020
(2)
The form of the vase is that called Amphora (see Plate III). It is of a fine
yellowish earth, on which the figures are painted in hlack, with accessaries in
red and white.
The principal side, Plate I, represents Athena or Minerva, tutelary divi-
nity of the city to which she gave her name; she appears in a warlike char-
acter, as described by Homer and Hesiod (3). Her dress consists in a long
Doric tunic (4) of a red colour; the border of which is black, and embroidered
with a maeander-shaped ornament. Over her tunic, is the regis of the same co-
lour, and of the primitive form, being simple a goat-skin fringed with thongs.
Her head is covered with a helmet, on which rises a lofty crest (5). Her hair col-
lected and plaited in a manner peculiar to this divinity, hangs on her back (6).
In one hand she holds a spear, which she is preparing to dart (7) against the
enemy (8); in her other hand she bears a shield ornamented with the figure
of a dolphin : this attribute of a marine deity, is given to Minerva as daughter
of Neptune and the lake Tritonis.
It is necessary to the explanation of some particulars of this painting, to re-
late here the early traditions respecting Minerva, since they differ widely from
those of a later period, which are commonly received. The Minerva venerated at
Athens, was a divinity of Libyan origin, probably introduced into Greece by the
colony which the Phoenicians established in Libya, sent into Boeotia (9). What
gives weight to this opinion, is, that we find in these two countries, the wor-
(3) Homer. Iliad. E, vers. 333 et 43o, etc.
Hesiod. Theogon. vers. 925—6.
(4) XlTWV ICQ^jjpm?.
(5) — &eivov 5e >io'<po; y.aOuTrepGev eveusv.
Homer. Iliad. T, 337.
(6) Jlapaitew\eY(iiv7! A9r|vn. Pollux, lib. 11,
segm. 35. Winckelmann.Monura.Ined,pas. 19.
Taylor Combe. Ancient Marbles in the British
Museum. Part 1, plate 1.
(7) Some etymologists derive the name of
Pallas, given to Minerva, from HaMetv, « to
vibrate,» alluding to this action of vibrating
the lance. Schol. in Homer. Iliad. A. 200.
(8) This was the most ancient mode of re-
presenting Minerva, and probably the pain-
ting offers a copy of the principal statue of
the goddess placed in the old Parthenon
burnt by the Persians, and which, like most
early works of art, may have been of wood.
Minerva is figured in a similar attitude on the
coins of Argos , and on those of Thessaly
which offer the Ttonian Minerva, the most
ancient in Greece.
On the peplos or veil, carried in the Pana-
thenaic procession, the exploits of Minerva
were represented in embroidery, especially
her victory over the giant Enceladus; the
same action is probably alluded to here.
Minerva is described in a similar attitude
by Hesiod. Scut. Hercul. vers. 196—200.
(9) Herodotus, lib. iv, cap. 180. Pausanias,
Attica, cap. if\.
The form of the vase is that called Amphora (see Plate III). It is of a fine
yellowish earth, on which the figures are painted in hlack, with accessaries in
red and white.
The principal side, Plate I, represents Athena or Minerva, tutelary divi-
nity of the city to which she gave her name; she appears in a warlike char-
acter, as described by Homer and Hesiod (3). Her dress consists in a long
Doric tunic (4) of a red colour; the border of which is black, and embroidered
with a maeander-shaped ornament. Over her tunic, is the regis of the same co-
lour, and of the primitive form, being simple a goat-skin fringed with thongs.
Her head is covered with a helmet, on which rises a lofty crest (5). Her hair col-
lected and plaited in a manner peculiar to this divinity, hangs on her back (6).
In one hand she holds a spear, which she is preparing to dart (7) against the
enemy (8); in her other hand she bears a shield ornamented with the figure
of a dolphin : this attribute of a marine deity, is given to Minerva as daughter
of Neptune and the lake Tritonis.
It is necessary to the explanation of some particulars of this painting, to re-
late here the early traditions respecting Minerva, since they differ widely from
those of a later period, which are commonly received. The Minerva venerated at
Athens, was a divinity of Libyan origin, probably introduced into Greece by the
colony which the Phoenicians established in Libya, sent into Boeotia (9). What
gives weight to this opinion, is, that we find in these two countries, the wor-
(3) Homer. Iliad. E, vers. 333 et 43o, etc.
Hesiod. Theogon. vers. 925—6.
(4) XlTWV ICQ^jjpm?.
(5) — &eivov 5e >io'<po; y.aOuTrepGev eveusv.
Homer. Iliad. T, 337.
(6) Jlapaitew\eY(iiv7! A9r|vn. Pollux, lib. 11,
segm. 35. Winckelmann.Monura.Ined,pas. 19.
Taylor Combe. Ancient Marbles in the British
Museum. Part 1, plate 1.
(7) Some etymologists derive the name of
Pallas, given to Minerva, from HaMetv, « to
vibrate,» alluding to this action of vibrating
the lance. Schol. in Homer. Iliad. A. 200.
(8) This was the most ancient mode of re-
presenting Minerva, and probably the pain-
ting offers a copy of the principal statue of
the goddess placed in the old Parthenon
burnt by the Persians, and which, like most
early works of art, may have been of wood.
Minerva is figured in a similar attitude on the
coins of Argos , and on those of Thessaly
which offer the Ttonian Minerva, the most
ancient in Greece.
On the peplos or veil, carried in the Pana-
thenaic procession, the exploits of Minerva
were represented in embroidery, especially
her victory over the giant Enceladus; the
same action is probably alluded to here.
Minerva is described in a similar attitude
by Hesiod. Scut. Hercul. vers. 196—200.
(9) Herodotus, lib. iv, cap. 180. Pausanias,
Attica, cap. if\.