DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8577#0152
i32 THE SUBJECT-MATTER OF THE
other vases that Corinthian artists of this period were fond of introducing the
architectural setting of a story.1 It is, therefore, legitimate to infer that the
Corinthian version of the story was unusually elaborate and circumstantial;
beyond this it is not safe to go. One can only imagine that there was a consider-
able group of figures, perhaps also a chariot, on the left, to balance the temple.2
Fig. 45 bis. From no. 1472 a :
see p. 131, note 2.
rr77~
Fig. 46. From no. 1470 b.
The only other story in which Herakles is concerned is the visit to the
house of Eurytos:
Crater, no. 780, pi. 27. The names of three of the sons of Eurytos (Eurytios
on the crater) correspond to those preserved in a fragment of Hesiod (Flach, 70),
tov 8' uteis iyevovro &yfio)v re KXvrios re
Tofeus t avTideos tSe *l(f>lto<;, o£os "kpyos.
Robert, Heldensage ii, 2, 584, states that all the names correspond, but this
is an overstatement: AtSatwi/, which he and others read, is an emendation.
Robert sees a probable second version of the subject in the Assos frieze.
1 Cf. p. 114. The vertical white strip on which the
inscription is placed no doubt represents the left-
hand anta of the temple. In the Amphiaraos vase,
no. 1471, we have an inscription written in this
place; in pi. 42,1, which is by the same hand, one is
written on an architrave. The vertical white strip
might, of course, be a column (one of the columns in
pi. 42, 1 is white), but if this were the case the
temple would almost exactly fill the right-hand half
of the picture (for the left-hand anta would come
approximately in the middle of the picture). This
arrangement is not impossible, but it is obviously
unlikely, as the design would then be very badly
balanced. In fig. 40, where we have a house, it is
placed on the right, and this was probably the com-
position here. The narrow vertical strip with a row
of dots is a door jamb, like those of fig. 40; the dots
seen in both these instances will represent rows of
metal nails or studs (compare the careful rendering
of nails on the door of the house of Thetis on the
Francois vase). The black circles on the horizontal
bars of the door in fig. 40 correspond likewise to
metal bosses (doubtless emphasized for decorative
effect); cf. Attic b.f. vases and actual doors such
as those from Macedonian tombs, Jahrbuch 1911,
195 ff. (especially pp. 199, fig. 8, and 211, fig. 24), and
the new example from Calydon (Poulsen-Rhomaios,
pi. 86, with p. 76). It follows from what was said
above that there was only one column between the
antae, an unusual plan, but one which can be
paralleled (temple of Apollo at Thermon, K.G.I JB.
r2I>3)-
2 One or two details of the fragment are not clear to
me: why, for example, is Kyknos striking with his
spear-arm in such an unusual position ? Are the
thin black lines near the end of the arm fingers ?
What was the shield device ? It is just conceivable
that the inscription refers to a lost prostrate figure;
the existing figure will then be Ares as on the
Kolchos oinochoe.
other vases that Corinthian artists of this period were fond of introducing the
architectural setting of a story.1 It is, therefore, legitimate to infer that the
Corinthian version of the story was unusually elaborate and circumstantial;
beyond this it is not safe to go. One can only imagine that there was a consider-
able group of figures, perhaps also a chariot, on the left, to balance the temple.2
Fig. 45 bis. From no. 1472 a :
see p. 131, note 2.
rr77~
Fig. 46. From no. 1470 b.
The only other story in which Herakles is concerned is the visit to the
house of Eurytos:
Crater, no. 780, pi. 27. The names of three of the sons of Eurytos (Eurytios
on the crater) correspond to those preserved in a fragment of Hesiod (Flach, 70),
tov 8' uteis iyevovro &yfio)v re KXvrios re
Tofeus t avTideos tSe *l(f>lto<;, o£os "kpyos.
Robert, Heldensage ii, 2, 584, states that all the names correspond, but this
is an overstatement: AtSatwi/, which he and others read, is an emendation.
Robert sees a probable second version of the subject in the Assos frieze.
1 Cf. p. 114. The vertical white strip on which the
inscription is placed no doubt represents the left-
hand anta of the temple. In the Amphiaraos vase,
no. 1471, we have an inscription written in this
place; in pi. 42,1, which is by the same hand, one is
written on an architrave. The vertical white strip
might, of course, be a column (one of the columns in
pi. 42, 1 is white), but if this were the case the
temple would almost exactly fill the right-hand half
of the picture (for the left-hand anta would come
approximately in the middle of the picture). This
arrangement is not impossible, but it is obviously
unlikely, as the design would then be very badly
balanced. In fig. 40, where we have a house, it is
placed on the right, and this was probably the com-
position here. The narrow vertical strip with a row
of dots is a door jamb, like those of fig. 40; the dots
seen in both these instances will represent rows of
metal nails or studs (compare the careful rendering
of nails on the door of the house of Thetis on the
Francois vase). The black circles on the horizontal
bars of the door in fig. 40 correspond likewise to
metal bosses (doubtless emphasized for decorative
effect); cf. Attic b.f. vases and actual doors such
as those from Macedonian tombs, Jahrbuch 1911,
195 ff. (especially pp. 199, fig. 8, and 211, fig. 24), and
the new example from Calydon (Poulsen-Rhomaios,
pi. 86, with p. 76). It follows from what was said
above that there was only one column between the
antae, an unusual plan, but one which can be
paralleled (temple of Apollo at Thermon, K.G.I JB.
r2I>3)-
2 One or two details of the fragment are not clear to
me: why, for example, is Kyknos striking with his
spear-arm in such an unusual position ? Are the
thin black lines near the end of the arm fingers ?
What was the shield device ? It is just conceivable
that the inscription refers to a lost prostrate figure;
the existing figure will then be Ares as on the
Kolchos oinochoe.