DOI Page / Citation link:
https://doi.org/10.11588/diglit.973#0075
FRIEZE OF PARTHENON. 67
The subject of the frieze of the Parthenon has been
considered, by most of the writers who have discussed
it, to be connected with the Panathenaic procession at
Athens. Those who have held a different view have
been the early travellers, such as Cyriac of Ancona, who
described the subject of the frieze as ' Athenian victories
in the time of Pericles,' and a few recent authors.
Davidson (The Parthenon Frieze) sees in the frieze a
representation of a Panhellenic assembly, which Pericles
tried to collect at Athens without success (cf. Furtwaengler,
Meisterwerke, p. 169). Weber and Boetticher held that the
scene represented is the preparation and rehearsal, rather
than the procession itself. C. Petersen thought that
different festivals are represented on different sides *
(cf. Michaelis, p. 205).
* The frieze of the Parthenon records in sculpture the passionate
delight with which Greeks, and more particularly Athenians, regarded
festal processions.
A vivid commentary on the Parthenon frieze is to be found in the third
book (chaps, i.-iii.) of the Aethiopica of the novelist Heliodorus. The
passage adds the sound, colour, and movement needed for a complete con-
ception of the scene. The writer, however, is describing the procession of
a Thessalian embassy at Delphi, and some of the details only partially
agree with those of the frieze. " The Hecatomb led the procession,
escorted by men initiated in the mysteries. These were somewhat rustic
in dress and manner, and had their white tunics closely girded. The
right shoulder and breast were bare, and they carried an axe in the right
hand. The bulls were followed by a crowd of other victims, each kind
being led separately and in order. Meanwhile flute and pipe were playing
a melody which was, as it were, an introduction to the sacrifice. The cattle
and their escort were followed by maidens with flowing hair. They were
in two troops; the first carried baskets of fruit and flowers, the second
troop carried flat baskets Qcava Kavqtpopovoai) with sweetmeats and
incense, and filled the place with sweet smells. They bore their burdens
on their heads leaving their hands free, and kept their ranks true both
from front to rear and from side to side, that they might march and dance
while the first troop gave the time, singing a hymn in honour of Thetis. . .
But at length the appearance of the youthful cavalry and of its leader
proved that a noble sight was better than any music. There were fifty
F 2
The subject of the frieze of the Parthenon has been
considered, by most of the writers who have discussed
it, to be connected with the Panathenaic procession at
Athens. Those who have held a different view have
been the early travellers, such as Cyriac of Ancona, who
described the subject of the frieze as ' Athenian victories
in the time of Pericles,' and a few recent authors.
Davidson (The Parthenon Frieze) sees in the frieze a
representation of a Panhellenic assembly, which Pericles
tried to collect at Athens without success (cf. Furtwaengler,
Meisterwerke, p. 169). Weber and Boetticher held that the
scene represented is the preparation and rehearsal, rather
than the procession itself. C. Petersen thought that
different festivals are represented on different sides *
(cf. Michaelis, p. 205).
* The frieze of the Parthenon records in sculpture the passionate
delight with which Greeks, and more particularly Athenians, regarded
festal processions.
A vivid commentary on the Parthenon frieze is to be found in the third
book (chaps, i.-iii.) of the Aethiopica of the novelist Heliodorus. The
passage adds the sound, colour, and movement needed for a complete con-
ception of the scene. The writer, however, is describing the procession of
a Thessalian embassy at Delphi, and some of the details only partially
agree with those of the frieze. " The Hecatomb led the procession,
escorted by men initiated in the mysteries. These were somewhat rustic
in dress and manner, and had their white tunics closely girded. The
right shoulder and breast were bare, and they carried an axe in the right
hand. The bulls were followed by a crowd of other victims, each kind
being led separately and in order. Meanwhile flute and pipe were playing
a melody which was, as it were, an introduction to the sacrifice. The cattle
and their escort were followed by maidens with flowing hair. They were
in two troops; the first carried baskets of fruit and flowers, the second
troop carried flat baskets Qcava Kavqtpopovoai) with sweetmeats and
incense, and filled the place with sweet smells. They bore their burdens
on their heads leaving their hands free, and kept their ranks true both
from front to rear and from side to side, that they might march and dance
while the first troop gave the time, singing a hymn in honour of Thetis. . .
But at length the appearance of the youthful cavalry and of its leader
proved that a noble sight was better than any music. There were fifty
F 2