DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18216#0312
298
CATALOGUE OF SCULPTUKE.
more correct interpretation may be gathered from a frag-
ment of an archaic sepulchral relief from Aegina (Athen-
ische Mittheilungen, viii., pi. 17), in which a female figure,
enthroned and holding a pomegranate (compare the
Spartan reliefs mentioned below), clasps the hand of a
standing figure, which is shown by the scaln to be that
of another deceased person. In this case the scene is
laid in Hades, and the clasping of the bands is signifi-
cant of affection, not of separation. Hence it has been
thought that all subjects with the clasped hands represent
the meeting and union in Hades after death (Furtwaengler,
Coll. Sabouroff, i., p. 46). There is, however, no proof that
the artist was always consciously placing the scene in
Hades, and in No. 710 Hermes seems about to conduct the
deceased person to the nether world. The presence of
figures in attitudes of grief, of children and servants,
seems to show that these reliefs are symbolic of family
affection, though the artist had no very clear and logical
conception of the moment depicted.
An early example of the clasping of hands on an Attic
monument is supplied by the sepulchral vase above men-
tioned, of 450-430 B.C. (Atlienisclie Mittlieilungen, x., pi. 13.)
Such subjects as the foregoing are often placed within
an architectural structure, usually consisting of two
pilasters and an entablature, sometimes surmounted by a
pediment. Various theories have been proposed on the
subject. It has been suggested that the architectural
ornament indicates the votive character of the relief
(Journ. of Hellen. Studies, v., p. Ill), or the home of the
dead person (Pervanoglu, Grdbsteine der alien Grieclien,
p. 14), but there is no evidence of any such special signi-
ficance attaching to the form. (Compare Furtwaengler,
Coll. Sabouroff, i., p. 52.)
The Sepulchral Banquet.—From the fourth century on-
wards, a type of relief commonly known as the Sepulchral
CATALOGUE OF SCULPTUKE.
more correct interpretation may be gathered from a frag-
ment of an archaic sepulchral relief from Aegina (Athen-
ische Mittheilungen, viii., pi. 17), in which a female figure,
enthroned and holding a pomegranate (compare the
Spartan reliefs mentioned below), clasps the hand of a
standing figure, which is shown by the scaln to be that
of another deceased person. In this case the scene is
laid in Hades, and the clasping of the bands is signifi-
cant of affection, not of separation. Hence it has been
thought that all subjects with the clasped hands represent
the meeting and union in Hades after death (Furtwaengler,
Coll. Sabouroff, i., p. 46). There is, however, no proof that
the artist was always consciously placing the scene in
Hades, and in No. 710 Hermes seems about to conduct the
deceased person to the nether world. The presence of
figures in attitudes of grief, of children and servants,
seems to show that these reliefs are symbolic of family
affection, though the artist had no very clear and logical
conception of the moment depicted.
An early example of the clasping of hands on an Attic
monument is supplied by the sepulchral vase above men-
tioned, of 450-430 B.C. (Atlienisclie Mittlieilungen, x., pi. 13.)
Such subjects as the foregoing are often placed within
an architectural structure, usually consisting of two
pilasters and an entablature, sometimes surmounted by a
pediment. Various theories have been proposed on the
subject. It has been suggested that the architectural
ornament indicates the votive character of the relief
(Journ. of Hellen. Studies, v., p. Ill), or the home of the
dead person (Pervanoglu, Grdbsteine der alien Grieclien,
p. 14), but there is no evidence of any such special signi-
ficance attaching to the form. (Compare Furtwaengler,
Coll. Sabouroff, i., p. 52.)
The Sepulchral Banquet.—From the fourth century on-
wards, a type of relief commonly known as the Sepulchral