DOI Page / Citation link:
https://doi.org/10.11588/diglit.18216#0309
SEPULCHE AL KE LIE VS.
295
The smooth surface of the stone below the crowning
ornament was used, from an early time, to receive a
representation of the deceased person, which was either
painted or in relief, the relief being itself painted. Such
portraits, in the case of men—and only men's portraits
are certainly known to be preserved of the archaic period
—take the form either of a simple standing figure, or of a
figure engaged in some occupation taken from life. See
the figures of the Discobolos and of the spear-thrower
(Conze, pis. 5, 7), and as an example of the painted por-
trait see the stele of Lyseas (Conze, pi. 1). The male
portrait is often accompanied by a small figure of a youth
riding or leading a horse. On a class of monuments de-
scribed below (Nos. 750-757) it is not impossible that the
figure of the horse may have some special reference to death,
but in the early Attic reliefs it seems more likely that the
horse indicates the favourite pursuits or the knightly rank
of the dead person. Compare Eoscher, Lexicon, p. 2584,
and Aristotle, Constitution of Athens, chap. 7, ed. Kenyon,
where the horse standing beside an archaic figure of
Anthemion, son of Diphilos {Class. Rev. 1891, p. 108), is
said to prove his knighthood (t7T7ras). (Cf. Journ. of Hellen.
Studies, v. p. 114; Conze, p. 4; Nos. 1, 14, 15, 10, 17, 19.)
The female figures, of which only uncertain specimens
survive, were simple portraits, usually seated, and some-
times accompanied by other members of the family, usually
represented on a diminutive scale. (Cf. Conze, No. 20.)
In one early Attic example there is an actual represen-
tation of mourners as on Etruscan or Lycian tombs. But
in general, allusions to death and mourning are but
slightly indicated. (Cf. Conze, No. 19, pi. 11.)
Finally, there is a type of monument, which contains
the representation of some animal more or less associated
with the grave, such as the cock (Conze, No. 22, pi. 13)
or the Sphinx (Conze, No. 16, pi. 10, fig. 16).
295
The smooth surface of the stone below the crowning
ornament was used, from an early time, to receive a
representation of the deceased person, which was either
painted or in relief, the relief being itself painted. Such
portraits, in the case of men—and only men's portraits
are certainly known to be preserved of the archaic period
—take the form either of a simple standing figure, or of a
figure engaged in some occupation taken from life. See
the figures of the Discobolos and of the spear-thrower
(Conze, pis. 5, 7), and as an example of the painted por-
trait see the stele of Lyseas (Conze, pi. 1). The male
portrait is often accompanied by a small figure of a youth
riding or leading a horse. On a class of monuments de-
scribed below (Nos. 750-757) it is not impossible that the
figure of the horse may have some special reference to death,
but in the early Attic reliefs it seems more likely that the
horse indicates the favourite pursuits or the knightly rank
of the dead person. Compare Eoscher, Lexicon, p. 2584,
and Aristotle, Constitution of Athens, chap. 7, ed. Kenyon,
where the horse standing beside an archaic figure of
Anthemion, son of Diphilos {Class. Rev. 1891, p. 108), is
said to prove his knighthood (t7T7ras). (Cf. Journ. of Hellen.
Studies, v. p. 114; Conze, p. 4; Nos. 1, 14, 15, 10, 17, 19.)
The female figures, of which only uncertain specimens
survive, were simple portraits, usually seated, and some-
times accompanied by other members of the family, usually
represented on a diminutive scale. (Cf. Conze, No. 20.)
In one early Attic example there is an actual represen-
tation of mourners as on Etruscan or Lycian tombs. But
in general, allusions to death and mourning are but
slightly indicated. (Cf. Conze, No. 19, pi. 11.)
Finally, there is a type of monument, which contains
the representation of some animal more or less associated
with the grave, such as the cock (Conze, No. 22, pi. 13)
or the Sphinx (Conze, No. 16, pi. 10, fig. 16).