DOI Page / Citation link:
https://doi.org/10.11588/diglit.49928#0072
given here shows three of them with hands joined dancing in
response to the rapid gestures of a teacher. Unlike figs. 2 and
3, the maidens are in ordinary dress, and even the teacher has
none of the marks of a professional ff. Pl. 76, fig. 2).
Recently these figures have been explained by M. J. Six
(J. H. S. Z.f.) as personifications of the breezes (Aurae).
Figs. 8, 9.—Cyclic and Pyrrhic Choruses.
Relief on two Blocks forming the Basis of a Bronze
Statue, dedicated by Atarbus. Found in 1852 on the
West Side of the Acropolis, Athens, and in the Acro-
polis Museum. Inscribed: Νικ^[σας κνκλίω xojpoland Πυρρι-
χισταίϊ νικήσας ”Α,ταρβος Λ[υσίου ανέβηκε ? Κ^τ/φισόδωρο? ηρχ^ι
WHICH GIVES THE DATE AS EITHER 366 OR 323 B.C.
Beule, L'Acropole d'Athenes, ii. Pl. 4.
L. von Sybel, Katalog, No. 6151.
Daremberg et Saglio, fig. 2257 (= fig. 8).
Harrison, Mythology and Mon., p. 347.
The right half shows eight men, with their hair tied with
bands, and their mantles wrapped tightly round them advancing
solemnly in fours. Their leader (the χορηγός) wears a sleeved
shirt (χιτών) and is turning round, the artist thus suggesting
that they are moving in a circle, following as he sings. The
inscription shows that it was to commemorate victories gained
at the Panathenaea (cf. Pl. 13, figs. 1-5) by a Cyclic chorus
and a Pyrrhic chorus that the statue and basis were dedicated.
The Pyrrhic chorus is shown on the other half. It too con-
sists of eight youths, who are nude and armed with helmet
and shield. Like the Cyclic chorus they advance in fours,
solemnly moving their shields in a rhythmic dance, while their
trainer (dressed in a mantle, and holding a scroll) looks on.
In the original state of the relief they held swords in their
right hands, but these, having been painted in, have now dis-
appeared (cf. Pl. 34, fig. 1).
It is to be noted that the singers in the Cyclic chorus wear
the ordinary dress of Athenian citizens and have no masks or
wreaths. Originally they were dressed much in the same
fashion as the Satyric chorus (cf. Pl. 3, fig. 1).
Fig. io.—Chariot· Race.
Red-figured Painting on the Neck of a Water-pot
(hydrid). From Vulci. Attic, Fifth Century b.c.
Panofka, Bilder ant. Lebens, Pl. 3, 10.
Smith, Diet, of Ant. i., p. 963.
To the right is a pillar, decorated with a victor’s riband
(ταινία cf. Pl. 25, fig. 7), which serves as the turning point, or
perhaps the winning post. Three chariots drawn by teams of
four horses are racing at full speed towards it. A single horse,
which has broken loose from a fourth chariot that has come to
grief, joins in the race.
The charioteers all wear the long shirt (χιτών) which is their
characteristic dress, and have goads. The chariots are lightly
built, with a high rail (άντυ£) in front and at the sides.
40
response to the rapid gestures of a teacher. Unlike figs. 2 and
3, the maidens are in ordinary dress, and even the teacher has
none of the marks of a professional ff. Pl. 76, fig. 2).
Recently these figures have been explained by M. J. Six
(J. H. S. Z.f.) as personifications of the breezes (Aurae).
Figs. 8, 9.—Cyclic and Pyrrhic Choruses.
Relief on two Blocks forming the Basis of a Bronze
Statue, dedicated by Atarbus. Found in 1852 on the
West Side of the Acropolis, Athens, and in the Acro-
polis Museum. Inscribed: Νικ^[σας κνκλίω xojpoland Πυρρι-
χισταίϊ νικήσας ”Α,ταρβος Λ[υσίου ανέβηκε ? Κ^τ/φισόδωρο? ηρχ^ι
WHICH GIVES THE DATE AS EITHER 366 OR 323 B.C.
Beule, L'Acropole d'Athenes, ii. Pl. 4.
L. von Sybel, Katalog, No. 6151.
Daremberg et Saglio, fig. 2257 (= fig. 8).
Harrison, Mythology and Mon., p. 347.
The right half shows eight men, with their hair tied with
bands, and their mantles wrapped tightly round them advancing
solemnly in fours. Their leader (the χορηγός) wears a sleeved
shirt (χιτών) and is turning round, the artist thus suggesting
that they are moving in a circle, following as he sings. The
inscription shows that it was to commemorate victories gained
at the Panathenaea (cf. Pl. 13, figs. 1-5) by a Cyclic chorus
and a Pyrrhic chorus that the statue and basis were dedicated.
The Pyrrhic chorus is shown on the other half. It too con-
sists of eight youths, who are nude and armed with helmet
and shield. Like the Cyclic chorus they advance in fours,
solemnly moving their shields in a rhythmic dance, while their
trainer (dressed in a mantle, and holding a scroll) looks on.
In the original state of the relief they held swords in their
right hands, but these, having been painted in, have now dis-
appeared (cf. Pl. 34, fig. 1).
It is to be noted that the singers in the Cyclic chorus wear
the ordinary dress of Athenian citizens and have no masks or
wreaths. Originally they were dressed much in the same
fashion as the Satyric chorus (cf. Pl. 3, fig. 1).
Fig. io.—Chariot· Race.
Red-figured Painting on the Neck of a Water-pot
(hydrid). From Vulci. Attic, Fifth Century b.c.
Panofka, Bilder ant. Lebens, Pl. 3, 10.
Smith, Diet, of Ant. i., p. 963.
To the right is a pillar, decorated with a victor’s riband
(ταινία cf. Pl. 25, fig. 7), which serves as the turning point, or
perhaps the winning post. Three chariots drawn by teams of
four horses are racing at full speed towards it. A single horse,
which has broken loose from a fourth chariot that has come to
grief, joins in the race.
The charioteers all wear the long shirt (χιτών) which is their
characteristic dress, and have goads. The chariots are lightly
built, with a high rail (άντυ£) in front and at the sides.
40