DOI Page / Citation link:
https://doi.org/10.11588/diglit.9841#0032
XXI.]
SILENOS.
15
Pan, the shortness of whose stature is generally to
be remarked, occupies a similar situation just before the
car of Dionysos, and following Silenos's group, on
a Bacchanalian procession in the Duke of Bedford's
gallery51, and on several other ancient monuments.
The vessel which Pan has overturned is of unusual
dimensions. The Cretan artist probably meant to re-
present the amphora most commonly seen in his own
island, and which appears to have been of a very large
size95.
The clothed and bearded figure, whose left arm is
thrown over the shoulder of a woman, while his right
is stretched out towards Pan, with whom he seems to
be expostulating, is evidently old Silenos, the preceptor
of Dionysos, and his companion in the Indian expedi-
tion. Silenos had long before distinguished himself for
his martial prowess in the combat of the Gods and
Giants, in which he fought on the right hand of Dio-
nysos, and slew Encelados"6.
Although the name Silenos is applied to all aged
Satyrs97, yet human ears serve to distinguish the com-
panion of Dionysos from the rest of them% and he
is frequently represented clothed89, as is the case here,
although undoubtedly he is more commonly naked on
ancient monuments. He appears before us, on this
sarcophagus, in his more dignified character, as the
84 Woburn Abbey Marbles, Plate xn.
95 Philostratus, Heroic, p. 34. ed. Boissonade. To yovv Kpdviov,
cf^ffiop^(rauTajv ijfiwv cts aVTO olvov, ovtic uiro Svotv dp.<popeotv cvctt\i'}<t6i},
90 Euripides, Cyclops, 6.
"EireiTa o" d/i<pi ynyevri n&xn" iopoi
cvc££los <tw ttool •KapiiatriaTf\<i yeyws,
'EyKe\a8ov, Weav cs p.eai\v Bevtnv, Sopl
£KT£lVa.
97 Above, p. 13.
98 Visconti, Museo Chiaramonti, Tav. xlvi. and Museo Pio-Cle-
mentino, Tom. iv. Tav. xxvn. p. 56.
Winckelmann, Pierres gravees de Stosch, 1470. Museo Chia-
ramonti, Tav. xxxiv. and Visconti's observations, p. 82.
VOT,. ri, B
SILENOS.
15
Pan, the shortness of whose stature is generally to
be remarked, occupies a similar situation just before the
car of Dionysos, and following Silenos's group, on
a Bacchanalian procession in the Duke of Bedford's
gallery51, and on several other ancient monuments.
The vessel which Pan has overturned is of unusual
dimensions. The Cretan artist probably meant to re-
present the amphora most commonly seen in his own
island, and which appears to have been of a very large
size95.
The clothed and bearded figure, whose left arm is
thrown over the shoulder of a woman, while his right
is stretched out towards Pan, with whom he seems to
be expostulating, is evidently old Silenos, the preceptor
of Dionysos, and his companion in the Indian expedi-
tion. Silenos had long before distinguished himself for
his martial prowess in the combat of the Gods and
Giants, in which he fought on the right hand of Dio-
nysos, and slew Encelados"6.
Although the name Silenos is applied to all aged
Satyrs97, yet human ears serve to distinguish the com-
panion of Dionysos from the rest of them% and he
is frequently represented clothed89, as is the case here,
although undoubtedly he is more commonly naked on
ancient monuments. He appears before us, on this
sarcophagus, in his more dignified character, as the
84 Woburn Abbey Marbles, Plate xn.
95 Philostratus, Heroic, p. 34. ed. Boissonade. To yovv Kpdviov,
cf^ffiop^(rauTajv ijfiwv cts aVTO olvov, ovtic uiro Svotv dp.<popeotv cvctt\i'}<t6i},
90 Euripides, Cyclops, 6.
"EireiTa o" d/i<pi ynyevri n&xn" iopoi
cvc££los <tw ttool •KapiiatriaTf\<i yeyws,
'EyKe\a8ov, Weav cs p.eai\v Bevtnv, Sopl
£KT£lVa.
97 Above, p. 13.
98 Visconti, Museo Chiaramonti, Tav. xlvi. and Museo Pio-Cle-
mentino, Tom. iv. Tav. xxvn. p. 56.
Winckelmann, Pierres gravees de Stosch, 1470. Museo Chia-
ramonti, Tav. xxxiv. and Visconti's observations, p. 82.
VOT,. ri, B