DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8577#0148
i28 THE SUBJECT-MATTER OF THE
5. Kotyle, no. 942 (fig. 45 c). The positions of Herakles and Iolaos reversed,
the latter with ap7rV as before; crab attacks Herakles. On the right,
Athena (?); on the left, Hera (?), chariot, &c.
An Argive-Corinthian plaque from Corinth (A. Anz. 1894,118; A.M. 1916,
44 fig. 8), which dates from the late sixth or early fifth century, shows the
same subject in a different form. The hydra is no longer in the centre;
compare the Tyrrhenian vase Gerhard A.V. pi. 95 (Mon. dell' Inst, iii, pi. 46,
4), and the Chest, where Herakles was shooting, as in no. 3.
The vases just enumerated are all comparatively early; the first dates from
the late seventh century, the others from the first quarter of the sixth. They
show two types of composition: in nos. 1,3, and 5 (no. 4 is incomplete) a
chariot stands on one side, in lateral view; (in no. 5 the heroes have turned
their horses loose to graze, in anticipation of a good fight).1 No. 4, however,
shows a different scheme, with a frontal chariot; this detail is of interest
because it confirms with absolute certainty a suggestion made by Watzinger
in connexion with the representation of the subject on the chest of Cypselus.
In describing the chest, Pausanias connected Iolaos in his chariot with the
funeral games of Pelias which occupy the next position on the right, instead of
with the hydra scene on the left, to which, as Brunn pointed out, it certainly
belongs. Earlier authorities who followed Brunn's correction restored the
hydra scene with Iolaos' chariot in side view to the right, Iolaos looking back
to the left towards the hydra. Watzinger observed that a frontal group was
required to explain the possibility of Pausanias's mistake, and this is the
composition which we see in the Louvre cup. The only difference is that
on the cup Iolaos has already left the chariot and is helping Herakles, and
that the chariot is on the left instead of on the right. See further v. Massow
in A.M. 1916 45 ff., where other details of the representation on the chest are
discussed.
The subject is therefore well established at Corinth before the middle of
the sixth century; from Corinth it would seem to have passed to Athens on
the one hand and to Sparta on the other.
v. Massow mentions a number of Attic examples, the earliest being the
poros gable from the Acropolis (Wiegand pi. 8,4; Winter, K.G. 1. B.2 205,1).
These differ in varying degrees from the Corinthian scheme. In none of them
is Herakles so deeply involved in the hydra's coils as in the Corinthian;
the composition is looser and weaker. The gable is the only one which is
contemporary with any of the Corinthian examples; the rest are all later than
the first quarter of the sixth century.
I know of four Laconian versions, a sherd from Naukratis in Oxford,
others in Sparta and Leipzig, and a much damaged ivory relief from Sparta,
in Oxford.
1 Cf. the poros pediment, infra.
5. Kotyle, no. 942 (fig. 45 c). The positions of Herakles and Iolaos reversed,
the latter with ap7rV as before; crab attacks Herakles. On the right,
Athena (?); on the left, Hera (?), chariot, &c.
An Argive-Corinthian plaque from Corinth (A. Anz. 1894,118; A.M. 1916,
44 fig. 8), which dates from the late sixth or early fifth century, shows the
same subject in a different form. The hydra is no longer in the centre;
compare the Tyrrhenian vase Gerhard A.V. pi. 95 (Mon. dell' Inst, iii, pi. 46,
4), and the Chest, where Herakles was shooting, as in no. 3.
The vases just enumerated are all comparatively early; the first dates from
the late seventh century, the others from the first quarter of the sixth. They
show two types of composition: in nos. 1,3, and 5 (no. 4 is incomplete) a
chariot stands on one side, in lateral view; (in no. 5 the heroes have turned
their horses loose to graze, in anticipation of a good fight).1 No. 4, however,
shows a different scheme, with a frontal chariot; this detail is of interest
because it confirms with absolute certainty a suggestion made by Watzinger
in connexion with the representation of the subject on the chest of Cypselus.
In describing the chest, Pausanias connected Iolaos in his chariot with the
funeral games of Pelias which occupy the next position on the right, instead of
with the hydra scene on the left, to which, as Brunn pointed out, it certainly
belongs. Earlier authorities who followed Brunn's correction restored the
hydra scene with Iolaos' chariot in side view to the right, Iolaos looking back
to the left towards the hydra. Watzinger observed that a frontal group was
required to explain the possibility of Pausanias's mistake, and this is the
composition which we see in the Louvre cup. The only difference is that
on the cup Iolaos has already left the chariot and is helping Herakles, and
that the chariot is on the left instead of on the right. See further v. Massow
in A.M. 1916 45 ff., where other details of the representation on the chest are
discussed.
The subject is therefore well established at Corinth before the middle of
the sixth century; from Corinth it would seem to have passed to Athens on
the one hand and to Sparta on the other.
v. Massow mentions a number of Attic examples, the earliest being the
poros gable from the Acropolis (Wiegand pi. 8,4; Winter, K.G. 1. B.2 205,1).
These differ in varying degrees from the Corinthian scheme. In none of them
is Herakles so deeply involved in the hydra's coils as in the Corinthian;
the composition is looser and weaker. The gable is the only one which is
contemporary with any of the Corinthian examples; the rest are all later than
the first quarter of the sixth century.
I know of four Laconian versions, a sherd from Naukratis in Oxford,
others in Sparta and Leipzig, and a much damaged ivory relief from Sparta,
in Oxford.
1 Cf. the poros pediment, infra.