DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.7897#0096
( 78 )
Such is the connexion between ancient monuments, that the investiga-
tion of one point often leads to the elucidation of others. In the description
given by Pausanias of the paintings of Polygnotus in the Lesche at Delphi, the
passage which relates to Phaedra, being corrupt, has never been understood.
In the first editions of that author, the reading atajpoupiviqv ev ytfpqj, is evi-
dently an error of the copyists, and Sylburgius who perceived it, has accord-
ingly substituted aetpa instead of p;pa. The better reading, however, seems to
be aiwpa or ewpa, a word easily corrupted into yopa. But even admitting the cor-
rection of Sylburgius, we may infer from the passage in question, that Phaedra
was represented seated in a swing, and holding the ropes Avith both hands (7).
This explanation is further proved by what Pausanias adds, that Polygnotus
adopted such a mode of representation, to indicate as decorously as possi-
ble (8), the manner in which Phaedra died.
By the same kind of Euphemism so familiar to the Athenians, the death of
Erigone was typified in a similar manner, in the festivals instituted in her ho-
nor. As ancient colonies generally adopted the religious and civil institutions
of the metropolis, it is not unlikely that the inhabitants of Nola, an Athe-
nian colony, celebrated the festival atwpa, and that the present composition
may be allusive to such a ceremony. It is thus, interesting by its subject (9),
and the light it throws on various points of archaeology, as well as by the un-
common beauty of the design and execution.
The attitudes are as simple and natural as they are graceful and elegant. In
the sitting figure, the sensation of pleasure produced by the exercise; in the
attendant, the earnest attention and anxiety, are most happily expressed. The
draperies are disposed in a manner particularly skilful, and the whole displays
a spirit and feeling which cannot be sufficiently admired.
(7) KctSviTai [J.h (ApiaSvv)) 5V1 TOTpa;, opa 5e e?
tv)V. a^tkyry $at^pav, to re aXko ai(opou[xivY,v cio|j.aEV
ffstpa, xai Teas yjpciv ap-cpoTepaii; exaTepaiGev ty; ctsi-
pa; e^O[/.eV»jv, -apeiye §e to <3yr,ij.a. xai T7p6; to euirpe-
TOGTEpov TO-oivifAevov mjjAlsaXXecSai toc T7|{ $ai'Spa;
tv|v TeXeurrfv. Pansan. lib. x, cap. 29.
(8) Phaedra hung herself in despair. The re-
presentation of a similar action would have
been esteemed inauspicious; and hence the
epithet of informis is given to this kind of
death by Virgil. iEneid. xir, vers. 6o3.
(9) A fictile vase with the same subject, is
in the collection of Samuel Rogers, Esq.; no
other monuments relating to it are known.
Such is the connexion between ancient monuments, that the investiga-
tion of one point often leads to the elucidation of others. In the description
given by Pausanias of the paintings of Polygnotus in the Lesche at Delphi, the
passage which relates to Phaedra, being corrupt, has never been understood.
In the first editions of that author, the reading atajpoupiviqv ev ytfpqj, is evi-
dently an error of the copyists, and Sylburgius who perceived it, has accord-
ingly substituted aetpa instead of p;pa. The better reading, however, seems to
be aiwpa or ewpa, a word easily corrupted into yopa. But even admitting the cor-
rection of Sylburgius, we may infer from the passage in question, that Phaedra
was represented seated in a swing, and holding the ropes Avith both hands (7).
This explanation is further proved by what Pausanias adds, that Polygnotus
adopted such a mode of representation, to indicate as decorously as possi-
ble (8), the manner in which Phaedra died.
By the same kind of Euphemism so familiar to the Athenians, the death of
Erigone was typified in a similar manner, in the festivals instituted in her ho-
nor. As ancient colonies generally adopted the religious and civil institutions
of the metropolis, it is not unlikely that the inhabitants of Nola, an Athe-
nian colony, celebrated the festival atwpa, and that the present composition
may be allusive to such a ceremony. It is thus, interesting by its subject (9),
and the light it throws on various points of archaeology, as well as by the un-
common beauty of the design and execution.
The attitudes are as simple and natural as they are graceful and elegant. In
the sitting figure, the sensation of pleasure produced by the exercise; in the
attendant, the earnest attention and anxiety, are most happily expressed. The
draperies are disposed in a manner particularly skilful, and the whole displays
a spirit and feeling which cannot be sufficiently admired.
(7) KctSviTai [J.h (ApiaSvv)) 5V1 TOTpa;, opa 5e e?
tv)V. a^tkyry $at^pav, to re aXko ai(opou[xivY,v cio|j.aEV
ffstpa, xai Teas yjpciv ap-cpoTepaii; exaTepaiGev ty; ctsi-
pa; e^O[/.eV»jv, -apeiye §e to <3yr,ij.a. xai T7p6; to euirpe-
TOGTEpov TO-oivifAevov mjjAlsaXXecSai toc T7|{ $ai'Spa;
tv|v TeXeurrfv. Pansan. lib. x, cap. 29.
(8) Phaedra hung herself in despair. The re-
presentation of a similar action would have
been esteemed inauspicious; and hence the
epithet of informis is given to this kind of
death by Virgil. iEneid. xir, vers. 6o3.
(9) A fictile vase with the same subject, is
in the collection of Samuel Rogers, Esq.; no
other monuments relating to it are known.