DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14144#0631
VASES OF SALPION AND SO SIB/OS.
595
Gacta! It was discovered at Cormia, on the Gulf of Gaeta, and was
for some time used as a font in the cathedral of this city, whence
it was transferred to the museum at Naples. The subject of the relief
is tlie handing over by Hermes of the infant Dionysus to his future nurse,
the Nymph of iVysa, m Naxos. There is scarcely a figure in it which
may not be traced to some prototype of a better period ; but all
are combined in a novel manner with great taste and elegance, and
the effect is extremely pleasing. Of a similar character is
The Vase of Sosibios, in the Louvre, which is also inscribed with the
name of the artist. The surface of the relief upon it, w hich is a good deal
rubbed, is likewise Bacchic, but the motif in by no means clear. One
is tempted to think that it represents no central action at all, but only
a succession of well-known figures from the Dionysiac Thiasos with-
out any close connexion. In the centre we see a flaming altar, on
the left side of which stands A rtemis with her usual attributes—bow,
quiver, and hind ; and on the other side, Hermes w alking on the tips of
his toes, and holding up his right hand in a significant manner. Be-
hind Artemis marches a minstrel playing the harp, who reminds us
°f the Apollo Citharoxlus, although the figure is generally pronounced
to be female. Then follow a Satyr and a Baceliante. Behind Hermes
arc two Bacchantes, copied from favourite types of a late period, and
a Corybant.
These two works of Salpion and Sosibios cannot be dated earlier
than the last century B.C. They are important as affording examples
°f the commencement of the archaistic style w hich Hadrian's passion
for the antique made so general and popular at a later period. There
Is another relief of great interest, representing
The Sacrifiec of Iphigenia, at Florence, which bears the name of
Cleomenes.1 The authenticity of the inscription is doubtful, but there
W no doubt of the beauty of the work. The priest is in the act of
cutting off the hair of the lovely victim as a preliminary sacrifice.
M'genta stands in silent grief and patient resignation,2 Trpiirovcra ff ws
7pa^a(s,:i w hile her father, Agattumium, stands somewhat apart with
7$* •r"/r"> P- 5"S. * Msdk dgam* v. 93. Etirip. ///nr.
I> Q 2
595
Gacta! It was discovered at Cormia, on the Gulf of Gaeta, and was
for some time used as a font in the cathedral of this city, whence
it was transferred to the museum at Naples. The subject of the relief
is tlie handing over by Hermes of the infant Dionysus to his future nurse,
the Nymph of iVysa, m Naxos. There is scarcely a figure in it which
may not be traced to some prototype of a better period ; but all
are combined in a novel manner with great taste and elegance, and
the effect is extremely pleasing. Of a similar character is
The Vase of Sosibios, in the Louvre, which is also inscribed with the
name of the artist. The surface of the relief upon it, w hich is a good deal
rubbed, is likewise Bacchic, but the motif in by no means clear. One
is tempted to think that it represents no central action at all, but only
a succession of well-known figures from the Dionysiac Thiasos with-
out any close connexion. In the centre we see a flaming altar, on
the left side of which stands A rtemis with her usual attributes—bow,
quiver, and hind ; and on the other side, Hermes w alking on the tips of
his toes, and holding up his right hand in a significant manner. Be-
hind Artemis marches a minstrel playing the harp, who reminds us
°f the Apollo Citharoxlus, although the figure is generally pronounced
to be female. Then follow a Satyr and a Baceliante. Behind Hermes
arc two Bacchantes, copied from favourite types of a late period, and
a Corybant.
These two works of Salpion and Sosibios cannot be dated earlier
than the last century B.C. They are important as affording examples
°f the commencement of the archaistic style w hich Hadrian's passion
for the antique made so general and popular at a later period. There
Is another relief of great interest, representing
The Sacrifiec of Iphigenia, at Florence, which bears the name of
Cleomenes.1 The authenticity of the inscription is doubtful, but there
W no doubt of the beauty of the work. The priest is in the act of
cutting off the hair of the lovely victim as a preliminary sacrifice.
M'genta stands in silent grief and patient resignation,2 Trpiirovcra ff ws
7pa^a(s,:i w hile her father, Agattumium, stands somewhat apart with
7$* •r"/r"> P- 5"S. * Msdk dgam* v. 93. Etirip. ///nr.
I> Q 2