Hostname: page-component-586b7cd67f-t7czq Total loading time: 0 Render date: 2024-11-28T14:25:52.216Z Has data issue: false hasContentIssue false
  • English
  • Français

The Chest of Kypselos1

Published online by Cambridge University Press:  23 December 2013

Henry Stuart Jones
Get access Rights & Permissions [Opens in a new window]

Extract

The restoration of lost works of art in accordance with the descriptions of ancient authors and the monuments which serve to illustrate them presents problems which can never fail to be attractive to archaeologists. Nor has there been any lack of such attempts at reconstruction. The descriptions which we owe to Pausanias of the chryselephantine statues of Phidias, the paintings of Polygnotos, the chest of Kypselos, and the throne at Amyclae, have formed the text of such works, which reflect with considerable accuracy the standard of archaeological knowledge prevailing at the time to which they belong, and the quantity and quality of monumental evidence available. A glance at the Wiener Vorlegeblätter for 1888, Plate XII., where the successive restorations attempted of the Iliupersis of Polygnotos are reproduced side by side, will illustrate this; and even since that year a further step in advance has been taken by Robert's publication of his admirable restorations of both the great frescoes of Polygnotos, which may be held to represent the nearest approximation to the style of that painter which the discoveries and investigations of the last few years have enabled us to make.

Type
Research Article
Information
The Journal of Hellenic Studies , Volume 14 , November 1894 , pp. 30 - 80
Copyright
Copyright © The Society for the Promotion of Hellenic Studies 1894

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

2 Die Nekyia des Polygnot, Halle 1892; Die Iliupersis des Polygnot, Halle 1893.

3 Le Jupiter Olympien, Pl. III. IV.

4 Ἀθήναιον, 1880, Pl. A′ B′ Γ′

5 Jahn, O., Hermes, iii. 192Google Scholar; Hirt, , De fontibus Pausaniae in Eliacis, p. 36Google Scholarsqq.; Klein, op. cit.; Kalkmann, , Pausanias der Perieget, p. 98Google Scholar; Gurlitt, , Ueber Pausanias, pp. 163Google Scholar ff.; Furtwängler, op. cit.; Knapp, , Die Kypseliden und die Kypseloslade (Korrespondenzblatt für die Gelehrten- und Realschulen Württembergs, 1888, pp. 28–45Google Scholar, 93–126), has not yet published the second part of his treatise, which is to deal with the offerings of the Kypselidai; but cf. Furtwängler, p. 726.

6 v. 92.

7 ii. 163 F.

8 xi. 325 R.

9 Overbeck, , Schriftquellen, 298–301.Google Scholar

10 Hermes, iii. (1869) 192.

11 Gurlitt, p. 163. The phrase τοῖς μέν ἐστιν εἰρηήνον perhaps lends some support to this interpretation.

12 viii, (v.) 13106 29; 13156 27.

13 Griechische Geschichte, i.2 635.

14 Andauia, , Ditt. Syll. 388, 165Google Scholar; Thuria, , Vischer, , Kleine Schriften, ii. 48Google Scholar.

15 Fr. 29, Müller.

16 Published by Imhoof-Blumer, Abhandlungen der bayerischen Akademie der Wissenschaften, xviii. Pl. VI.

17 Parerga zur Kunstgeschichte Würzburg, 1893), p. 24.

18 Pax, 631.

19 Polemon received προξενία at Delphi in 175 B.C. (Ditt. Syll. 198, 260).

20 See list of authorities on §1; also Loschcke, , A.Z. 1876, p. 113Google Scholar, and Archäologische Miscellen (1880), p. 8; Robert, , Hermes xxiii, pp. 436Google Scholar ff.; Overbeck, , Berichte der kgl. sächs. Gesellschaft der Wissenschaften, 1892, pp. 1–10Google Scholar; Sittl, , Parerga zur Kunstgeschichte (1893), p. 24Google Scholar.

21 Wiener Jahrbücher, 1827, p. 261.

22 Arch. Aufs. pp. 1–15 (1845).

23 Die Kunst bei Homer (Abh. der bayr. Akad. 1868).

24 A.Z. 1876, p. 113 note.

25 Sächs. Ber. 1892, pp. 1–10, and the new edition of the Geschichte der griechischen Plastik.

26 Fick, Ilias 2, Einleitung, p. vii.; Preger, , Inscriptions Graecae Metricae (1891), pp. 143–147Google Scholar. See also Kretschmer, , Die korinthischen, Vaseninschriften (K.Z. xxix., 1888, pp. 152 ff.)Google Scholar, and Die griechischen Vaseninschriften (Gütersloh 1894), pp. 16–50; also Wilisch, , Die altkorinthische Thonindustrie (Leipzig 1892), pp. 156–174Google Scholar.

27 Mercklin, (A.Z. 1860, p. 101 ff.)Google Scholar, adopting the ‘three-side’ theory, would go farther and say that they were confined to the front of the chest. In this he is followed by Robert; but proof is wanting, and practical necessity forces us to depart from the principle in the case of the fourth band (Ajax and Cassandra).

28 Metre is against writing as the constant spelling on vases might suggest (Wilisch 6, 7, 10).

29 Hermes, xxiii. 438.

30 The literature is widely scattered; but reference may be specially made to the works of Milchhöfer (Anfänge der Kunst in Griechenland); Löschcke, (A.Z. 1876, pp. 108–119Google Scholar, 1881, pp. 29–51; and the three ‘Dorpater Programme’ of the years 1879, 1880, 1881— Die Reliefs der altspartanischen Basis, Archäologische Miseellen, Boreas und Oreithyia auf dem Kypseloskasten); Furtwängler, (A.Z. 1883, pp. 153–162, 1884, pp. 99–114Google Scholar; Der Goldfund von Vettersfelde (1883); and Olympia Textband IV. Die Bronzen passim); Schneider, , Prolegomena zu einer neuen Gallerie heroischer Bildwerke (1890)Google Scholar; Berichte der Kgl. sächs. Gesellschaft der Wissenschaften (1891), pp. 204–253.

31 Lange Fehde (Hist. Phil. Aufsätze E. Curtius gewidmet, 1884).

32 The story of Herodotus (iii. 48), whatever be its exact value, reflects only the feelings of Corinth towards Samos in his own time, which we know from Thue. i. 40.

33 Die troische Aera des Suidas (Abh. der bayr. Akad. xvii. 1886, p. 522). Busolt unfortunately accepts it (Griechische Geschichte, I.2 457 Anm. 4). Equally unhappy is Unger's explanation of Theognis 773–782; cf. Reitzenstein, , Epigramm und Skolion (Giessen 1893), p. 59Google Scholar.

34 Reitzenstein, op. cit.

35 They clearly form a parody of the original inscription, which we can no longer restore.

36 Hdt. iii. 48 (though the story itself is of doubtful value).

37 His son was named Psammetichus (Nik. Dam. 60 = Müller, F.H.G. iii. p. 394Google Scholar from Ephoros; Arist. Pol. viii, (v,) 13156 26).

38 To which Mr.Evans, J.H.S. xiii. 223)Google Scholar adds that of Asia Minor.

39 Säcks. Berichte, 1891, pp. 246–249.

40 Griechische Kunstgeschichte, Book I. (1893).

41 A.Z. (1884) viii. 1, ix. 1.

42 From Rhodes, , Milchhöfer, , Anfänge, p. 75Google Scholar.

43 It is highly probable that the finest ‘Protocorinthian’ lekythi proceed from Chalkis (cf. Wilisch, , Die altkorinthische Thonindustrie, p. 11 f.)Google Scholar.

44 Boreas und Oreithyia, p. 7.

45 University of Kasan, 1890, p. 158.

46 The fragments published by Mr. Richards in the J.H.S. xiii. Pl. XII. are probably not Chaloidian, as Studniczka asserted, but painted in Athens under Chalcidian influence.

47 Hektor's, Lösung (Hist. Phil. Aufs. Curtius gewidmet), p. 189Google Scholar.

48 Meisterwerke, p. 727 f.

49 Knoll's, discussion of the point (Studien zur ältesten Kunst in Griechenland, p. 67Google Scholar note) is quite valueless.

50 Satyr aus Pergamon, p. 23, tracing Chalcidian influence.

51 Klein, , Kypsele der Kypseliden, p. 64Google Scholar. Schneider, , Troischer Sagenkreis, p. 73Google Scholar, demurs.

52 What Maass means by the statement in Gött. Gelehrte Anzeigen 1890, p. 383, that the ‘Hesiodic’ Euphemos ἣ οἳη was ‘zugleich die älteste Argonautendichtung, aus dem sechsten Jahrhundert,’ is quite unintelligible.

53 Whose purpose was to be riveted on to a wooden background.

54 Die altkorinthisehe Thonindustrie, p. 78.

55 Bild und Lied, p. 14.

56 To this Ionic class belong, e.g., Micali, , Storia 36Google Scholar, Vienna Kunsthistorisches Museum 278, Cabinet des Médailles 339, 273, Louvre 684.

57 Cp. Gröger, , De Argonauticarum fabularum historia quaestiones selectae (Vratislamae 1881)Google Scholar; Jessen, , Prolegomena in Catalogum Argonautarum (Berlin 1889)Google Scholar.

58 Schol. Ap. Rh. i. 45 expressly says,

59 Jahrbuch, v. (1890), p.252.

60 ‘Chalcidian’ bronze handles from Italy (e.g. Notizie degli scavi 1886 i.): frieze of Assos, coins of Cyzicus, gold-fish of Vettersfelde, vases of Dümmler's ‘Pontic’ fabric, poros pediments of the Aeropolis (in one case corresponding to the hydra scene,) ivory relief, M.d.I. vi. 46. See Bruckner, ap. Escher, op. cit. p. 114.

61 Δίκη wields an axe, otherwise the agreement is exact.

62 For a further development cf. Schneider, Prolegomena, p. 47 f.

62a Cp. III. 18. 13 where Geryon was no doubt also present.

63 But cf. V. 17, 7, and the restoration.

64 Hermes, xxiii. 84.

65 From Boghaz-Keni (Pteria).

66 The nearest Oriental parallel is a wingless figure on a hematite cylinder from Salamis (Perrot, iii. fig. 429, p. 638).

67 This is the only serious argument for retaining Pausanias' interpretation, and as such is strongly pressed by Schneider. We should in that case have to reverse the direction. But a scene consisting only of one mule-ear seems out of place in the present frieze.