DOI Page / Citation link:
https://doi.org/10.11588/diglit.18218#0256
242
CATALOGUE OF SCULPTURE.
festoons, which a Satyr is fastening. There is a small
projection, also tiled, at the right end of the building,
and, on the left, is a smaller building, also roofed with
tiles. This is continued to the right by a wall terminated
by a pilaster, which is surmounted by a small tablet; on
this is sculptured a Victory driving a chariot in relief;
this, doubtless, indicates a votive tablet to commemorate
a chariot victory. (Cf. Nos. 814, 815.) A curtain is
fastened to the small building and to the pilaster to form
a background to Dionysos and the seated figure. Between
this curtain and Dionysos is a second couch prepared for
the god. Behind the suite of Dionysos is a lower wall,
beyond which, in the distance on the extreme right, are
a palm-tree, and a tablet surmounting a pillar; it corre-
sponds with the tablet already described, except that the
plain side is shown. Behind the larger edifice, on the
extreme left, is a plane-tree, which, as elsewhere in reliefs,
perhaps indicates a court round the house.
The subject here described occurs, with certain modifi-
cations in the design, on several reliefs, which are
enumerated and compared by O. Jahn (Ai-ch. Beitrage,
p. 198). On three of these repetitions a female figure,
probably the wife of the male figure, is reclining on the
same couch with him, and in the marble here described
a new piece has been inserted in the place wdiich should
be thus occupied.
The explanation of the subject of the relief, first
proposed by Visconti, and commonly accepted till re-
cently, was that the scene represents the visit of Dionysos
to Icarios, the hero of the Attic deme Icaria, who enter-
tained Dion}-sos and was taught by him to cultivate the
vine.
This is, no doubt, a possible interpretation. Pausanias
saw a group of terracotta figures at Athens, representing
Amphiktyon entertaining Dionysos and other gods (Paus.,
CATALOGUE OF SCULPTURE.
festoons, which a Satyr is fastening. There is a small
projection, also tiled, at the right end of the building,
and, on the left, is a smaller building, also roofed with
tiles. This is continued to the right by a wall terminated
by a pilaster, which is surmounted by a small tablet; on
this is sculptured a Victory driving a chariot in relief;
this, doubtless, indicates a votive tablet to commemorate
a chariot victory. (Cf. Nos. 814, 815.) A curtain is
fastened to the small building and to the pilaster to form
a background to Dionysos and the seated figure. Between
this curtain and Dionysos is a second couch prepared for
the god. Behind the suite of Dionysos is a lower wall,
beyond which, in the distance on the extreme right, are
a palm-tree, and a tablet surmounting a pillar; it corre-
sponds with the tablet already described, except that the
plain side is shown. Behind the larger edifice, on the
extreme left, is a plane-tree, which, as elsewhere in reliefs,
perhaps indicates a court round the house.
The subject here described occurs, with certain modifi-
cations in the design, on several reliefs, which are
enumerated and compared by O. Jahn (Ai-ch. Beitrage,
p. 198). On three of these repetitions a female figure,
probably the wife of the male figure, is reclining on the
same couch with him, and in the marble here described
a new piece has been inserted in the place wdiich should
be thus occupied.
The explanation of the subject of the relief, first
proposed by Visconti, and commonly accepted till re-
cently, was that the scene represents the visit of Dionysos
to Icarios, the hero of the Attic deme Icaria, who enter-
tained Dion}-sos and was taught by him to cultivate the
vine.
This is, no doubt, a possible interpretation. Pausanias
saw a group of terracotta figures at Athens, representing
Amphiktyon entertaining Dionysos and other gods (Paus.,