DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14144#0331
THE FIVE CENTRAL FIGURES.
295
than any of her female assessors, and her head is thickly veiled.
Even Dr. Flasch allows that her appearance is unusually quiet and
respectable, and ascribes this to her position among the Twelve Gods,
and her distance from Ares ! She leans her right elbow familiarly on
the knee of her companion, and points with her outstretched left hand,
which rests on the shoulder of a boy, at some object in the distance.
Triptolemos (?), Eros (?), (fig. 117, 0), is almost entirely nude,
but a small chlamys is discernible on the arms ; his curly hair is
bound with a fillet, and in his left hand he holds a parasol with a
long handle, either for his own or his mother's (?) use. If he is
really winged, as is generally believed, though the traces of wings
are not easy to discern, and we recognise Aphrodite in fig. 120, 11,
we are constrained to see her constant attendant Eros in the beautiful
boy who leans so confidingly against her.'
The Five Central Figures.1
(Fig. 118.)
This remarkable and enigmatical group, flanked on either side by
the two rows of Olympian deities described above, consists of two
principal figures, male and female, and three smaller subordinate
figures ; viz. two girls bearing seats, and a boy holding a garment.
The principal male personage,a priest ? (fig. 1i8,<7), who is bearded
and wears only the short-sleeved chiton, without a girdle, holds in his
hands a garment, or a piece of cloth, which he appears to have just
folded up. Opposite to him stands a boy{ \ 18, b), over whose shoulder
hangs a long mantle, and who places his hands on cither side of the
garment, which he appears to be receiving.
The principal female figure, a priestess} (fig. 118, c), stands with
her back to the priest, and opposite to two girls (fig. 118, d, e), who
carry seats on their heads, which are protected by the usual pad or
' liiunn calls this group Cora, Pemcter
anil lacchos, not believing in the wings of
the last.
' For the lively controversy on the mean-
ing of these figures, vid. Michaelis, Pailh.
p. 255; Flasch, turn forth, p. 98; and
Botticher, Zofhoros am Parthenon.
295
than any of her female assessors, and her head is thickly veiled.
Even Dr. Flasch allows that her appearance is unusually quiet and
respectable, and ascribes this to her position among the Twelve Gods,
and her distance from Ares ! She leans her right elbow familiarly on
the knee of her companion, and points with her outstretched left hand,
which rests on the shoulder of a boy, at some object in the distance.
Triptolemos (?), Eros (?), (fig. 117, 0), is almost entirely nude,
but a small chlamys is discernible on the arms ; his curly hair is
bound with a fillet, and in his left hand he holds a parasol with a
long handle, either for his own or his mother's (?) use. If he is
really winged, as is generally believed, though the traces of wings
are not easy to discern, and we recognise Aphrodite in fig. 120, 11,
we are constrained to see her constant attendant Eros in the beautiful
boy who leans so confidingly against her.'
The Five Central Figures.1
(Fig. 118.)
This remarkable and enigmatical group, flanked on either side by
the two rows of Olympian deities described above, consists of two
principal figures, male and female, and three smaller subordinate
figures ; viz. two girls bearing seats, and a boy holding a garment.
The principal male personage,a priest ? (fig. 1i8,<7), who is bearded
and wears only the short-sleeved chiton, without a girdle, holds in his
hands a garment, or a piece of cloth, which he appears to have just
folded up. Opposite to him stands a boy{ \ 18, b), over whose shoulder
hangs a long mantle, and who places his hands on cither side of the
garment, which he appears to be receiving.
The principal female figure, a priestess} (fig. 118, c), stands with
her back to the priest, and opposite to two girls (fig. 118, d, e), who
carry seats on their heads, which are protected by the usual pad or
' liiunn calls this group Cora, Pemcter
anil lacchos, not believing in the wings of
the last.
' For the lively controversy on the mean-
ing of these figures, vid. Michaelis, Pailh.
p. 255; Flasch, turn forth, p. 98; and
Botticher, Zofhoros am Parthenon.