HERAKLES AND THE NEMEAN LION ON RHODES: Two Athenian Black Figure Olpai from Ialysos and Camiros

∞ƒÃ∞π√°¡ø™π∞, Δ√ª√™ 14 (2006)

∞£∏¡∞ 2006

A N N A A . L E M O S

HERAKLES AND THE

NEMEAN LION ON RHODESTWO ATHENIAN BLACK FIGURE OLPAI

FROM IALYSOS AND CAMIROS

A N A T Y ¶ √

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ANNA A. LEMOS

HERAKLES AND THE NEMEAN LION ON RHODESTwo Athenian Black Figure Olpai from Ialysos and Camiros

«àÏÏ¿ ë D˜ â‰¿Ì·ÛÛÂ ‚›Ë˜ ^∏Ú·ÎÏËÂ›Ë˜»

Hesiod, Theogony 332

The aim of this paper is twofold: first the fuller publication of two Athenianblack figure olpai in the Archaeological Museum of Rhodes, and then a

commentary on certain stylistic and iconographical issues concerning them. Onboth vases the exhaustively explored theme of Herakles with the Nemean lionis presented in a rather unorthodox manner raising ambiguities as to its identi-ty: this has and may still yet provoke further discussion. Though the struggle ofthe hero conforms in the main to a defined iconographical scheme, well-attest-ed on hundreds of black figure vases of almost all the known shapes, each sceneincludes specific and intriguing elements.

The first olpe with inv. no. 10480 (Pls. 34 and 35), from the cist tomb 194

* I would like to thank Dr. I. Papachristodoulou and Dr. M. Filimonos-Tsopotou, ex and pre-sent Directors of the Rhodes Archaeological Museum, and members of their staff, especiallyD. Kuyios, for access and assistance in the museum; also E. Eliades for the photographs andDr R.D.G. Evely for kindly combing my English.In addition to those of the German Archaeological Institute (AA 1997, 611-628) the fol-lowing abbreviations are used:

ABV J.D. BEAZLEY, Attic Black-Figure Vase-Painters (Oxford 1956). ARV2 J.D. BEAZLEY, Attic Red-Figure Vase-Painters2 (Oxford 1963). CLARK 1992 A.J. CLARK, Attic Black-figured Olpai and Oinochoai (Diss. New York

University 1992).FOURNIER-

CHRISTOL 1990 C. FOURNIER-CHRISTOL, Catalogue des olpés attiques du Louvrede 550 à 480 environ (Paris 1990).

KAESER 2003 B. KAESER, “Erste Tat: Der Löwe von Nemea” in R. Wünsche(ed.), Herakles. Herkules. (Munich 2003), 68-90.

LIMC V LIMC V (1990) s.v. Herakles (W. Felten) B. Herakles and theNemean lion (Labour I) 16-34, nos. 1762-1989.

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of Zambico at Ialysos1, is the name piece by which Beazley conventionally chris-tened the vase painter as Painter of Rhodes 10480. The second olpe with inv.no. 13351 (Pls. 36 and 37), from the pithos burial 172 of Macri Langoni atCamiros2, is the second vase he attributed to his hand.

Both vases are nearly complete and in a very good state of preservation: Olpe10480 is intact3, but for a large part of the neck and lip, including the leftflange, which is missing and two small fragments on the neck; that on the chainof buds has been restored with plaster. A fragment has been mended on thebase, but a small break at the edge exists. Several chips are to be seen at the lipand base. Abrasions exist on the black areas, on the handle’s interior and at itscorners. The vase has been misfired to reddish brown on most of the black areasand the outside of the handle. The glaze is worn at parts; the additions in redhave mostly flaked off.

Olpe 13351 is also intact4, but for four small breaks at the edge of the base.Several minor chips exist at the lip, handle and base. It has been misfired to red-dish on the front part of the lip, inside and out. The glaze is well preserved,though the additions in red are at places a little duller than usual; those in whiteremain very well preserved but might have been repainted at restoration by theItalians.

Both vases are glazed, together with the inside of the neck, apart from themetope, a band on the lower part of the body, the edge of the base and theunderside of the foot.

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1. G. JACOPI, Scavi nella necropoli di Jalisso 1924-1928, Clara Rhodos III, Bergamo 1929-1938, 164 no. 2, fig. 156 (third) and 157; CVA Rhodes 1 [Italy 9] III He, pl. 13,3; ABV449,1; J.D. BEAZLEY, Paralipomena, Oxford 1971, 195 (only no. 1, because the other itemswere erroneously placed and concern the Painter of Rhodes 13472, who follows); S. STUC-

CHI, Enciclopedia dell’ arte antica classica e orientale VI, 1965, 759, fig. 881; T.H.CARPENTER, Beazley Addenda2, Oxford 1989, 114. The vase number in the Beazley Archiveis 330149 (with wrong description).

2. G. JACOPI, Esplorazione archeologica di Camiro I. Scavi nelle necropoli Camiresi 1929-1930. Clara Rhodos IV, Bergamo, 1931-1939, 286 no. 7, figs. 319 (upper row, second) and321, CVA Rhodes 1 [Italy 9] III He pl. 10,5; ABV 449,2; S. STUCCHI, Enciclopedia dell’arte antica classica e orientale VI, 1965, 759. The vase number in the Beazley Archive is330150.

3. Height to the handle, 22.2 cm; height to the lip, 21 cm; diameter of lip, 10.8 cm; diameterof foot, 9.6 cm. Maximum diameter, 14.5cm.

4. Height to the handle, 23.5 cm; height to the lip, 22.4 cm; diameter at the lip, 11 cm; diam-eter at the foot, 8.9 cm. Maximum diameter, 13.5 cm.

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The olpe is a well-attested shape and in the years after 530 BC a new typeis introduced with a swelling body. Both olpai from Rhodes belong to this typeand are of almost similar size and make5 – with round mouth, curving intoward the neck more sharply than that of its trefoil counterpart6, black neck,low handle with tiny metallic-looking projections like flanges (rotellae) oneither side of the rim attachment and swelling body tapering smoothly to theechinus base. Differences exist too: on olpe 10480 the mouth sets off from theneck forming a horizontal rim, the body is broader and a little more sagging,and the handle is banded though slightly protruding in the middle; on olpe13351 the mouth has a horizontal rim, which ends in a rolled lip forming analmost torus mouth, the neck is taller, the handle is completely flat and the bodyslimmer and taller. These variations imply that the vases might be products ofdifferent potters, probably however belonging to the same workshop.

On both olpai the decoration appears in a panel opposite the handle.Contrary to the trefoil olpe, this scheme is focused on the front of the vase; thepanel on olpe 10480 is better centred.

The decoration of olpe 10480 bears on the shoulder a chain of inverted budsunited with tendrils, with diluted glazed lines at the top and at the bottom; itis undotted. In the middle of the body a naked youth with short hair and astephane, standing to the right, grasps a lion with his left hand and holds itsfront right leg at the middle joint with his right hand; the lion stands uprightto the left but with its head turned backwards to the right and with lollingtongue. They are flanked by two youths, naked but for a stephane on their shorthair and a mantle wrapped round their left elbows and arms. They hold spears:the left youth is striding to the right with his head turned towards the middle;the right youth is striding left towards the centre. All figures stand on the dilut-ed glazed, ground line. The metope is flanked by two black, mostly dilutedglazed lines.

HERAKLES AND THE NEMEAN LION ON RHODES. TWO ATHENIAN BLACK FIGURE OLPAI FROM IALYSOS AND CAMIROS

5. For the development of the olpe’s shape, iconography and decorative motifs see mainlyFOURNIER-CHRISTOL 1990, 19-67 and CLARK 1992, 1-367; also for the shape and its vari-ations M. D. WEGENER, Beiträge zur Geschichte der “Olpe” (Ph. D. thesis, Heidelberg1946) and J.R. GREEN, BICS 19 (1972), 1-16; its variations in black glaze B.A. SPARKES andL. TALCOTT, The Athenian Agora XII. Black and Plain Pottery of the 6th, 5th, and 4th cen-turies B.C., Princeton 1970, 76-79.

6. M.B. MOORE - M.Z. PHILIPPIDES, The Athenian Agora XXIII. Attic Black-Figured Pottery,Princeton 1986, 40.

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The lower part of the body consists of a) a red line, in places double; b) a

thin glazed band; c) a red line; d) a thin reserved band; d) a red line; e) a thick

glazed band and f ) the glazed base, all encircling the vase.

Additions in red: Youths’ stephanae and a few vertical folds of their mantles,

as well as the inner zigzag folds that give them a three-dimensional effect; lion’s

tongue and a row of dots separating the mane from the face; a few more are

placed at random on the mane.

Red lines: a) a thick on the rim, separating the outside from the inside;

b) two at the top and bottom of the first thin glazed band on the lower part of

the body and c) a thick one at the top of the thick glazed band.

The decoration of olpe 13351 carries on the shoulder a chain of inverted

buds, double-dotted in between and united with tendrils and lines at the top

and at the bottom. On the body from left to right are: a half-dressed (observe

the two incisions denoting the collar on his neck and a tiny, vertical incision at

the shoulder denoting the armpit) youth with long hair coiffed in a bun (krovy-los) holding with his right hand the left forepaw of a lion striding to the right;

the lion is standing to the left but with head turned backwards and lolling

tongue. Naked but for a mantle on his left elbow and arm, a youth with long

hair coiffed in a bun (krovylos) holds a club and strides to the right, with head

turned backwards. In the background are dotted branches with ten bunches of

grapes. All figures stand on the glazed ground line. The metope is flanked by

one line only at the right side.

Additions in red: Left youth’s frontal part of his hair; the lion’s tongue and

dots at the inner part of its mane; the right youth’s stephane, the hair-band

(·Ó·‰¤ÛÌË) of his coiffure (krovylos), dots on his mantle’s folds and on the

three-dimensional zigzag paryphe.

Additions in white: The lion’s belly and three dots on its body: one at the

middle of its shoulder and two on its hindquarters; two small dots on the lion’s

hindpaws; the right youth’s club and four of the hanging bunches of grapes.

***

Beazley attributed both olpai to one hand, as mentioned above, obviously

because of their similar shape, dimensions, subject and composition. A few

objections can be raised, however, to an unreserved acceptance of the view that

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both are works by the same vase painter7 - on the following significant, thoughminute, stylistic details:

First and foremost the lions are differently rendered: that on olpe 10480 dis-poses a bushy mane continuing alongside its back; a remarkable row of uddersruns alongside its belly; and its teeth, enhanced with minute incisions, ring itsopen mouth. The completely different incisions marking details, such as thecalligraphic curvature outlining its mouth and the rather hackneyed two inci-sions placed on its hindlegs must be noted too. On the contrary, on olpe 13351the lion is more elegantly yet conventionally rendered with incisions well-thought out and executed; the front of the mane is finely combed in two verti-cal rows of tiny incisions, thus separating the face from the rest of the mane; thebelly is enhanced with white and the hindlegs terminate in two round ball-likepaws.

Second, the youths’ musculature and facial details provide another point ofstylistic differentiation: on olpe 10480 there is an endeavour at a three-quarterview on all three youths by rendering the upper torso frontally with full breastand nipples and the lower in profile, whereas muscles on arms and legs areworked with more detailed and basically vertical incisions. Facial details, i.e.eyes and ears are more summarily rendered. On the contrary, on olpe 13351 themusculature, especially on the legs, is very carefully executed – the various mus-cles on the calves are incised and the knee-caps on the right youth denoted. Theyouth wrestling with the lion, though nude on the lower torso, bears two curvedincisions on the neck, probably a collar, and a tiny incision on the level of hisright shoulder probably indicates the end of an armpit-hem. Facial details aremore carefully rendered.

Third, the youths’ coiffure is markedly different: on olpe 10480 the outlineof their short hair is rendered by minute parallel incisions on the forehead andneck; the middle youth however has a forehead crowned with small semi-cir-cles. On the contrary, on olpe 13351 the youths are coiffed in a hair-bandedkrovylos, stylishly en vogue at the end of the sixth century in Athens.

Finally, the background on olpe 13351 is decorated with dotted branchesand bunches of grapes, a common motif betraying a borrowing from theDionysian repertory current at the time.


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7. Cf. FOURNIER-CHRISTOL 1990, 52 n. 213; 63 n. 313 and 65 n. 346 and CLARK 1992, 108nos. 181 and 182; 153, who both independently accepted Beazley’s attribution without how-ever any justification.

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These stylistic variations, which at first glance could perhaps undo Beazley’sattribution to the same hand are yet countered by the stronger and definitivesimilarities, i.e. the shape, the dimensions, the conception, and above all theidentical iconographical and compositional scheme, which will be discussedbelow in detail. Further small yet noreworthy stylistic traits in common can belisted. The zigzag three-dimensional folds of the youths’ mantle-hems on botholpai are rendered in an identical manner. However this is a general, indeedcommon feature on many contemporary vases. The shoulder decoration isalmost similar, but for the dots on olpe 13351.

Though both olpai derive from the systematic and well-recorded excavationsof the Italians on Rhodes8, only in the case of olpe 13351 do the burial’s con-tents assist here. Olpe 10480 derives from a cist grave at Ialyssos of an adoles-cent, as deduced by a group of twenty-two astragals near the deceased’s head,and probably an athlete, as indicated by an undecorated alabastron. Theremaining ceramic contents however were undecorated; therefore one must relyonly on the olpe’s shape and style, which point to a date at the very end of thesixth century. Olpe 13351 comes from a pithos burial at Camiros, whichincluded two more olpai, inv. nos. 13353 and 13354, probably attributed tonear the Painter of Vatican G. 49, dated about 490-480 BC9, as well as a smallred figure cup, inv. no. 13352, with the inscription ∏π¶¶∞ƒÃ√™, and attribu-ted by Beazley to the manner of Epiktetos10, dated about 520-490 BC. In addi-tion to its internal evidence from shape and style, this olpe is thus more secure-ly dated to the end of the sixth century. Both vases, as attested by their stylistictraits as explored above in detail, are thus contemporary. They have already beendated to the decade 510-500 BC11; but they could perhaps be dated nearer to500 BC, at the very end of the sixth or even early in the first decade of the fifthcentury.

***

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8. See op. cit. ns. 1 and 2. 9. A.A. LEMOS, CVA Rhodes Archaeological Museum [Greece 10], under pl. 73; Cf. FOUR-

NIER-CHRISTOL, 117 no. 60 and 51 n. 198 (the inv. nos. are reversed). 10. ARV2 80,11 and 1624 “close to the slighter pieces of the painter [Epiktetos] himself” and

decorated inside only with an athlete using pick. For the kalos-name Hipparchos op.cit.1584.

11. By both FOURNIER-CHRISTOL 1990, 63 and CLARK 1992, 153 independently.

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Both olpai are decorated with the theme, exhaustively overworked, in Athenianblack figure of the first labour of Herakles with the Nemean lion12. With cer-tain irregularities, as stated above, concerning Herakles’ identity, who appearsbeardless on both; and on olpe 10480 both lacking his characteristic attributesand flanked by spear-holding youngsters. Consequently, the question is whetherit is the first labour being portrayed.

Undoubtedly Herakles with the Nemean lion is “the most popular of all theLabours and well over five hundred black figure representations are known –perhaps more than those of all the other Labours put together”13. These num-bers have much increased of late: recently they are estimated at “more than ninehundred scenes on vases”14 in general and at “more than seven hundred onblack figure vases”15. These statistics speak for the overwhelming popularity ofthe subject, which had a special appeal to the artisans and their clientele in theArchaic era. The clear reasons are that Archaic art is keen in depicting anddemonstrating the dramatic climax of a myth and consequently has produced avariety of inventive schemes enriching it iconographically.

The iconographical scheme used here on both scenes is that of the standingtussle between man and beast. This broadly approaches a generic rendition ofthe first labour, but does not completely conform to it16. A recent and plainericonographical classification of the first labour, with examples drawn exclusive-ly from the rich collection of the Staatliche Antikensammlungen Museum inMunich17, focuses on Herakles’ posture and so classifies the wrestle into threevariations: the kneeling, the standing and the ground positions. The standingpose is separated into three sub-divisions; in this, the second variation three fur-ther sub-divisions have been proposed. First, the two protagonists stand next to


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12. On the vast iconography of the labour see LIMC V, 17 and here the following notes; addalso, K. RAKATSANIS, Herakles in Löwenkampf, eine ikonographische Untersuchung zurattischen Vasenmalerei (Ph.D. thesis, Innsbruck 1977) and A.R. STEIGER, Herakles and theLion in Attic Art (thesis 1983).

13. J. BOARDMAN, Athenian Black Figure Vases, a handbook (London 1974) 222, drawn fromthe fundamental catalogues in F. BROMMER, Vasenlisten zur griechischen Heldensage, 3rded., Marburg 1973, 109-143 (the two olpai from Rhodes are Brommer’s 124,41 and 42); cf.also K. SCHEFORD, Götter-und Heldensagen der Griechen in der spätarchaischen Kunst,Munich 1978, 95-100.

14. F. BROMMER, “Herakles und Theseus auf Vasen in Malibu”, Greek Vases in The J. Paul GettyMuseum 2. Occasional Papers on Antiquities 3 (1985) 206.

15. T.H. CARPENTER, Art and Myth in Ancient Greece, London 1991, 120.16. See BOARDMAN, op. cit. n. 13, 221, his division C.17. See recently KAESER 2003, 69-90 and esp. 74 with figs. 10,19-20.

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each other; second, they are positioned head to head; and third, the hero’s bustis against the lion’s head18. The scenes on these olpai belong to an intermediatestage, a compromise between the second and third sub-divisions of the stand-ing position: the lion’s head is placed against the hero’s breast, but turned back-wards looking at the opposite direction. Such a turning of the lion’s head is tes-tified as early as about 600 BC on Argive shield-bands19 and in the 560’s onAthenian Siana cups, but only in the kneeling position and with both hero andlion facing the same direction, usually to the right20.

The more detailed, if complicated, iconographical classification of the sub-ject’s vast material remains Felten’s article in LIMC V. The various categorieswith their subdivisions permit the classification of almost every newly discov-ered example to fall within some well-defined category, or at least to come close.Thus, both scenes of our olpai can be classified in her: “I. Herakles wrestles withthe lion b) Herakles is standing (i) Herakles faces the lion, seizing its neck in hisleft arm. The lion’s head is turned away and he claws Herakles with his hindpaw”21, only here, on both olpai, both the lion’s hind paws are on the ground.It is true that the standing position of both protagonists, with the lion’s headturned backwards, is not easily matched on olpai; comparison may be drawnwith a small, trefoil olpe where the figures are in silhouette22. All three give theimpression of a conventional, and to our modern eyes a rather theatrically spec-tacular, pose.

Iconographical inappropriateness for an archaic Herakles has already beenpointed out23 concerning his clothing, but three further and noteworthy irregu-

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18. Idem, 72-75, fig. 10,10.19. K. SCHEFOLD, Götter-und Heldensagen der Griechen in der früh-und hocharchaischen

Kunst, Munich 1993, 235-236, figs. 249-249bis.20. The earliest depiction is perhaps on the Siana cup Berlin Charlottenburg 1753 by the C

Painter (Brijder’s The Vintage Painter); ABV 56,94 and H.A.G. BRIJDER, Siana Cups I andKomast Cups, Amsterdam 1983, no. 259, pl. 52.

21. LIMC V 19, scheme (b) (i) nos. 1781-1782; cf. also nos. 1792-1798, esp. no. 1792 withother examples cited, but the lion’s head is not turned backwards. See also, M. PIPILI, CVA,Athens 4 [Greece 4], 32-33, pl. 20,1-2.

22. Tarquinia RC 3308, ABV 445,10; L. CAMPUS, Materiali del Museo archeologico nazionaledi Tarquinia, 2. Ceramica attica a figure nere. Piccoli vasi e vasi plastici, Rome 1981, 94 no.63, pl. 27.

23. C. BÉRARD, “Héros de tout poil: d’ Heraklès imberbe à Tarzan barbu” in F. LISSARRAGUE andF. THELAMON (eds.), Image et céramique grecque. Actes du Colloque de Rouen, 25-26novembre 1982 (Rouen 1983) 111-120 (olpe Rhodes 10480 is fig. 5 (drawing) [with wrong

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larities set problems as to his identity, i.e. the lack of a beard, the absence of hisusual attributes and the surrounding figures, especially if youths. All these threeare present on olpe 10480; the lack of a beard only on olpe 13351. What canone observe?

Herakles is usually, yet not always, naked in this labour. One may thus con-clude that the artisans were familiar with the myth that he took the skin forhimself after his success24. Exceptions nevertheless exist and are too numerousto be cited even selectively. In particular, on olpe 13351, as described above, theincisions on neck and shoulder indicate a lightly dressed upper torso, probablywith a chitoniskos, which is customary on similar scenes.

A clean-shaven Herakles was once thought to be Ionian in inspiration, yetEast Greek vase painting, though there are but few recognisable pictures of thehero, does not prove such a claim25. In Athenian black figure a beardlessHerakles is undoubtedly rare: this might raise a problem here but comparablevases dated before these two olpai exist; e.g. a Siana cup in Birmingham with abeardless Herakles pursuing Nessos and Deianeira, dated to the 550’s26; a lipcup in Paris dated to the 540’s 27; a neck amphora in Berlin, Staatliche MuseumF 1840, with Herakles and the lion, dated to 510-50028. At the end of the cen-tury such become more common, as a new concept for the hero appears,launched by both the coroplasts and the red-figure Pioneers. Attic relief terra-cotta plaques deriving from the Acropolis29, the Agora30 and the Kerameikos31,


inv. no. 10487]) and idem, “Etrangler un lion à mains nues” in C. BÉRARD, Chr. BRON, A.POMARI (eds.), Images et société en Grèce ancienne. L’ iconographie comme méthode d’analyse, Lausanne 1987, 177-186 (olpe Rhodes 10480 is fig. 1 on p. 178).

24. The actual clawing is shown on the cup in Munich 2085, LIMC V, no. 1916.25. SCHEFOLD, op. cit. n. 13, 100 invoking Furtwängler’s statement, but none of the known and

accepted scenes of or with the hero confirms it. See A. TEMPESTA, Le raffigurazioni mitolo-gische sulla ceramica greco-orientale arcaica, Rome 1998, 41-50, not comprising the Clazo-menian sarcophagi and the Caeretan hydriai, for which see R.M. COOK, ClazomenianSarcophagi, Mainz 1981 and J.M. HEMELRIJK, Caeretan Hydriae, Mainz 1984, respectively.

26. H.A.G. BRIJDER, op. cit n. 20, attributed to his so-called Painter of the Burgon Sianas 207-211, 264 no. 291, pl. 58c.

27. N. PLAOUTINE, CVA Louvre 9 [France 14], pl. 86 [627], 8. 28. LIMC V, no. 1786. 29. LIMC V, no. 1878 and now Chr. VLASSOPOULOU, ∞ÙÙÈÎÔ› ·Ó¿ÁÏ˘ÊÔÈ ›Ó·ÎÂ˜ ÙË˜ ·Ú¯·˚Î‹˜

ÂÔ¯‹˜, ∞ı‹Ó· 2003, 42-44 and 102 nÔ. 1, pl. 7,1 with bibliography.30. Ibid., 102 no. 2, pl. 7,2.31. Ibid., 102-103 no. 3, pl. 7,3.

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from the same metallic mould and dating to 500-490, depict a youthful, beard-less Herakles in his first labour. Works of red-figure vase painters, such as theEuergides Painter32, 510-500, the Charops Painter33, c. 500, the KleophradesPainter34, c. 500, to enumerate a few, all demonstrate that the beardless hero isbecoming en vogue, following up on the new ideals for the male figure. Theirblack figure colleagues were no doubt influenced and a few amongst themtransferred the new type into their technique35.

Though on olpe 13351 a gnarled club is held by the youth, who must beidentified with Iolaos, the second commonest club-bearer in black figure, nosuch attributes are shown on olpe 10480. This absence however should not bein the least disturbing, as examples from relevant scenes concentrating solely onthis labour are abundant, starting from tondi on Siana cups in the 560’s andcontinuing down to late archaic red figure in the decade of 490-480. A selectfew are cited: from vases in the Antikensammlungen Museum in Munich andranging from 540 to 510 in date, amphora B 1382; amphora B 1397; oinochoe1756; neck amphora 1471; band cup 2241; amphora B 1395; oinochoe 1788;eye cup 9653; amphora B 1385; neck amphora 1559; eye-cup 2034, on bothsides36. Wherever a female or a male figure or figures flank the combatants, itmight be deduced that they are Athena and Iolaos, yet on the cited examplesthey carry no attributes either. From vases appearing in the LIMC V and rang-ing from 560 to 490/480 BC, the cup in the Basel market37; the neck ampho-ra in Berlin, Staatliche Museum F 184038; the column crater, Athens, NM44039; the amphora B in New York, MMA 40.11.20 on both sides40; the

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32. Cup Louvre G 71, ARV2 89,21; SCHEFOLD op. cit. n. 13, fig. 203. Or, the cup in Maple-wood, Noble Collection, Para 330; J. BOARDMAN, Athenian Red Figure Vases. The ArchaicPeriod, a handbook, London 1975, pl. 104.

33. Cup Copenhagen, NM Chr. VIII 458, ARV2 138,1; CVA 3, pl. 136, 1a-c; LIMC V, no.1857.

34. Kalpis Villa Giulia 50398, ARV2 188,69; E. SIMON and A. HIRMER, Die GriechischenVasen, Munich 1976/1981, pls. 126-127.

35. See for an example LIMC V, no. 1786.36. KAESER 2003, 74-77, pls. 10, 13.14.16.17.18.19.20.21.22.24.25.37. LIMC V, no. 1762.38. Ibid., no. 1786.39. Ibid., no. 1787.40. Ibid., nos. 1794 and 1805.

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kyathos in the Basel market41 and the kalpis in New York, MMA 21.88.1 in redfigure42. This roughly compiled catalogue attests to the fact that vase paintersdid not always need to show attributes in a Herakles-with-the-lion scene, as itwas a well-understood theme, almost a commonplace, to them and their clien-tele.

The two protagonists are more commonly flanked by Athena and Iolaos orHermes, more seldom by the nymph Nemea. Many other anonymous figuresattend, depending on the shape of the vase and consequently the space available– thus the longer friezes of column craters43, or the shoulder of neck ampho-rae44, or cups45, or kyathoi46. As a rule, these onlookers, who are static and donot participate in the action have been interpreted as space-fillers and bear nothematic unity, as is observed in other subjects as well. The habit had been insti-gated by the Heidelberg and the Amasis Painters in the 560’s.

For scenes with spear-holders, or staff-holders on poorer works, which cer-tainly become rarer, the motif starts early in the mid-years of the sixth centuryand runs to the end of black figure painting. An early example is the band cupMunich 2241 dated to 550-540, where a young spear-holder is to the left ofHerakles and two dressed ones flanking47; a late one is the above-mentionedkyathos, dated about 490, with Herakles flanked by youths, of which the twoleft ones are spear-holders48. In a recent study on the iconography of weapon-ry in general and spears in particular, as mirroring contemporary reality, animportant change is traced between Late Geometric II, c. 735 BC, to the latesixth century, as Athenian aristocrats or men of wealth turned from holdingspears to gradually carrying staffs, or other equipment of leisure, such as para-


41. Ibid., no. 1836; this kyathos was also sold at Christie’s, Fine Antiquities. 12.12.1984, 39 no.140, with a smaller but colour photograph.

42. LIMC V, no. 1868.43. For an example see the column crater, Athens NM 440, dated to 550-540 and attributed to

the Painter of Louvre F 6, ABV 124,19; LIMC V, no. 1787.44. For an example see the neck amphora Munich 1471, dated to 550-540 and attributed to

Group E, ABV 137,60; KAESER 2003, Cat. no. 11, pl. 10, 17.45. For an example see both sides of the eye cup, Munich 2034, dated to about 530, KAESER

2003, Cat. no. 19, pl. 10, 25. 46. For an example see the kyathos in the London market, dated to about 500 and attributed to

the Caylus Painter, Charles Ede Ltd., Pottery from Athens XVI, September 1999, no.1.47. KAESER 2003, Cat. no. 12, pl. 10, 18. 48. See op. cit. n. 41.

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sols, as well as to wearing civilian clothes, chitons and mainly himatia49.However the above study is concerned with the dressed men and not the nudeor semi-nude50. On the specific scene of olpe 10480, the spear-holding youthsare most probably onlookers totally unconcerned with the combat, since lateblack figure continues a well-founded tradition.

Lion-fighters, always using spears, are known in Greek art since theGeometric times, either with one man fighting a lion51, or more frequently lateron with two or more52. A very remote possibility here would identify the spear-holding youths flanking the wrestle on olpe 10480 as faint remembrances ofthese non-mythological first lion-fighters.

Mixing elements or decorative motifs from other subjects in black figure isquite common, indeed almost expected in over-worked themes. On the above-mentioned column crater Athens NM 440 the women and warriors flankingthe struggle derive from arming scenes53. On the olpe Rhodes 15443 a seatedreferee (an agonothetes) holding a spear (sic) takes on Iolaos’ role, who super-vises the match going on in front of him,54 undoubtedly an image drawn froman athletic scene. Lastly, elements taken from the Dionysian imagery, as on oursecond olpe Rhodes 13351 with its dotted branches and grape-bunches, are acommon place motif on many other, non-Dionysian subjects at the time.

Finally, both a club-bearer, as on olpe 13351, together with spear-holders, ason olpe 10480, coexist on side A of the column crater Thessaloniki, inv. no.14902, dated to about 520-510 and probably attributed to the workshop of theReady Painter55. If the club-bearer “is no doubt to be connected with the well-

A.A. LEMOS

49. See H. VAN WEES, “Greeks Bearing Arms: the State, the Leisure Class, and the Display ofWeapons in Archaic Greece” in N. FISHER, H. VAN WEES (eds.), Archaic Greece: NewApproaches and New Evidence, London 1998, 333-378, esp. 352-362 with notes 54-60.

50. Ibid., 375 note 53.51. To give an example: the Late Geometric II stand, Kerameikos 407, J.M. HURWIT, The Art

and Culture of Early Greece, 1100-480 B.C., Ithaca and London 1985, fig. 51 and discus-sion on pp. 113-119 on the scene’s ambiguous interpretation.

52. To give an example: The Chigi olpe, Villa Giulia 22679, D.A. AMYX, Corinthian Vase-Painting of the Archaic Period, Berkeley/Los Angeles/London 1988, 32; M. ROBERTSON,Greek Painting, Geneva 1959, colour pl. on p. 49.

53. See above n. 39.54. ClRh VIII 136-138 no. 1, figs. 123-124; A.A. LEMOS, op. cit. n. 9, under pl. 66. 55. C.L. SISMANIDIS, CVA Thessaloniki 1 [Greece 5] 31-32, pl. 42,1.

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known club-bearers of Peisistratos”56, the ÎÔÚ˘ÓËÊfiÚÔÈ57 of Peisistratan sym-bolism and propaganda58, this claim might also stand true for the scene on sideB of amphora B Athens NM 15111 dated to the 530’s59. A club-bearer how-ever on a Herakles and lion scene, as that on olpe 13351, can only be Iolaosholding the par excellence weapon of the mighty hero, as he does on hundredsof scenes, more so that the gnarled club, realistically rendered here, befits thatof the hero’s.

As for the naked spear-holders on olpe 10480, who are either mere onlook-ers or faint echoes of lion-fighters from earlier imagery, they find parallels onother vases, as mentioned above. The proposed symbolic iconological approach,as related to ritual inaugurations in adolescence and/or maturity, remainsambiguous60. The theme of Herakles and the Nemean lion can assume a meredecorative value, especially so when it is repeated on the same vase61: such is thecase on the signed Nikosthenic amphora, Louvre F 108, with Herakles and thelion depicted three times, on the neck and the two sides of the shoulder62,where a mixture from another theme is also seen in the broken amphora of sideB, recalling Polyxena’s broken hydria taken from the ambush of Troilos imagery.Furthermore, men with youths coexist on the very same scene, as pictured onthe body of a shoulder lekythos in Graz G 35, attributed to the Sandal Painterand dated to 540-530, where spear-holders, both an adolescent and beardedmen, are flanking an upright Herakles fighting the lion63.


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56. Ibid. 32.57. Herodotus I, 59, 20 58. J. BOARDMAN, “Herakles, Peisistratos and Sons”, RA 1972, 57-72, esp. 66ff; 59. E. BÖHR, Der Schaukelmaler, Mainz/Rhein 1982, 85 no. 48, pl. 50b and p. 48 for Peisistra-

tos’ club-bearers.60. See op. cit. n. 23.61. On the meaning of repetition see A. STEINER, “The meaning of repetition. Visual redun-

dancy in archaic Athenian vases”, JdI 108 (1993), 197-219.62. ABV 220,30; V. TOSTO, The Black-figure Pottery Signed ¡π∫√™£∂¡∂™∂¶√π∂™∂¡,

Amsterdam 1999, 74-45, 214 no. 35, pl. 102. Cf. Bérard’s interpretation, op. cit. notes 23and 60, who considers the hero as such on the neck but the youth and man on either side ofthe shoulder, as humans emulating Herakles’ bodily strength being their prototype ofcourage.

63. E. POCHMARSKI, “Herakles und der nemeische Löwe auf einer Lekythos in Graz” in F.KRINZINGER et al. (eds.), Forschungen und Funde. Festschrift Bernhard Neutsch, Innsbruck1980, 341-348, pls. 66-67.

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The lion was a creature never seen by the Athenians during the Archaicera64. This is testified to by that of olpe 10480, where it appears simultaneous-ly with mane and udders. Such inconsistency appears frequently during thesixth century on vases and reliefs, starting with the lioness with mane devour-ing a bull on the limestone pedimental group on the Acropolis of the early sixthcentury65 and embracing works throughout the sixth down even to vases attrib-uted to the Berlin Painter in the early fifth century66. It seems that sculptors andpainters, and generally Athenians, were familiar with the beast only from theestablished, and stereotyped, types in art.

Finally, in these two olpai of the Painter of Rhodes 10480, we think that thepainter’s intentions were merely to produce a balanced composition on olpe10480 (Pls. 34 and 35), forming a well-organized, triadic composition: Hera-kles and the lion are to be taken as a unit, the theme being then mixed with theframing figures in order to enhance an extremely hackneyed theme. On olpe13351 (Pls. 36 and 37) he sought the opposite effect, albeit creating again a tri-adic synthesis: this time Herakles and the lion are to be taken separately, with agap exactly in the middle, accentuated on its central axis by the dotted branch-es and grape-bunches taken from Dionysian scenes. The various and alien el-ements interwoven up by the Painter of Rhodes 10480, to whom indeed botholpai must be attributed, should be set to his credit as demonstrating both histhoughtfulness and careful planning in correlating the shape of his vases to therather hackneyed subject in a relatively original manner. Thus he demonstrateshis preoccupation for harmonic compositions in order to make the products ofhis workshop more attractive in the market-place.

ANNA A. LEMOS

Department of History and Archaeology

University of Athens

e-mail: [email protected]

A.A. LEMOS

164

64. See D. RAKATSANIS, “Antike Quellenzeugnisse zur Existenz des Löwen in Hellas” in F.KRINZINGER et al. (eds.), Forschungen und Funde. Festschrift Bernhard Neutsch, Innsbruck1980, 367-370; for a concise overview on the subject see also T.H. CARPENTER, DionysianImagery in Archaic Greek Art, Oxford 1986, 68-69.

65. E. LAPALUS, Le fronton sculpté en Grèce des origines à la fin du IVe siècle, Paris 1947, 100ff. ;J. BOARDMAN, Greek Sculpture, the Archaic Period, a handbook, London 1978, fig. 190.

66. Two red figure pelikai in Ferrara 20510 and 1234, attributed by Beazley to the early phaseof the Berlin Painter, ARV 2 205,114 and 114bis; CVA 1, pl. 1,1; N. ALFIERI, Spina. MuseoArcheologico nazionale di Ferrara, 1, Bologna 1979, 6-7, figs. 18-20.

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O Hƒ∞∫§∏™ ∫∞π Δ√ §π√¡Δ∞ƒπ Δ∏™ ¡∂ª∂∞™ ™Δ∏ ƒ√¢√.¢‡Ô ·ıËÓ·˚Î¤˜ ÌÂÏ·ÓfiÌÔÚÊÂ˜ fiÏÂ˜

·fi ÙËÓ π·Ï˘Ûfi Î·È ÙËÓ ∫¿ÌÈÚÔ.

∞¡¡∞ ∞. §∞πª√À

√ÛÙfi¯Ô˜ ÙÔ˘ ¿ÚıÚÔ˘ Â›Ó·È ‰ÈÙÙfi˜. ™ÙÔ ÚÒÙÔ Ì¤ÚÔ˜ ‰ËÌÔÛÈÂ‡ÔÓÙ·È ‰‡Ô ·ıË-Ó·˚Î¤˜ ÌÂÏ·ÓfiÌÔÚÊÂ˜ fiÏÂ˜ ·fi ÙËÓ π·Ï˘Ûfi Î·È ÙËÓ ∫¿ÌÈÚÔ ÙË˜ ƒfi‰Ô˘. ∏

ÚÒÙË, ÌÂ ·Ú. Â˘Ú. 10480 (¶›Ó. 34 Î·È 35), ÚÔ¤Ú¯ÂÙ·È ·fi ÙÔÓ ÎÈ‚ˆÙÈfiÛ¯ËÌÔÙ¿ÊÔ ·Ú. 194 ÛÙËÓ π·Ï˘Ûfi Î·È Ë ‰Â‡ÙÂÚË, ÌÂ ·Ú. Â˘Ú. 13351 (¶›Ó. 36 Î·È 37),·fi ·È‰ÈÎ‹ Ù·Ê‹ ÛÂ ›ıÔ ÛÙÔ ª·ÎÚ‡ §·ÁÁfiÓÈ ÙË˜ ∫·Ì›ÚÔ˘. ∫·È ÔÈ ‰‡Ô ÂÎÙ›ıÂÓÙ·ÈÛÙÔ ∞Ú¯·ÈÔÏÔÁÈÎfi ªÔ˘ÛÂ›Ô ÙË˜ ƒfi‰Ô˘ Î·È ‚Ú¤ıËÎ·Ó Î·Ù¿ ÙË ‰È¿ÚÎÂÈ· ÙˆÓ Û˘ÛÙË-Ì·ÙÈÎÒÓ ·Ó·ÛÎ·ÊÒÓ ÙˆÓ πÙ·ÏÒÓ ÛÙÔ ÓËÛ›. ¶ÂÚÈÁÚ¿ÊÔÓÙ·È ‰ÈÂÍÔ‰ÈÎ¿ Ë Î·Ù¿ÛÙ·ÛË‰È·Ù‹ÚËÛË˜ ÙˆÓ ‰‡Ô ·ÁÁÂ›ˆÓ, ÔÈ ‰È·ÛÙ¿ÛÂÈ˜, ÙÔ Û¯‹Ì·, Ë ‰È·ÎfiÛÌËÛË, Ù· Â›ıÂÙ·¯ÚÒÌ·Ù·, Ë ÙÂ¯ÓÔÙÚÔ›· Î·È Ë ¯ÚÔÓÔÏfiÁËÛ‹ ÙÔ˘˜. √È ÙÂ¯ÓÔÙÚÔÈÎ¤˜ ÙÔ˘˜ ÔÌÔÈfi-ÙËÙÂ˜, Î˘Ú›ˆ˜ Ô ¯·Ú·ÎÙ‹Ú·˜ Î·È ÙÔ ÓÂ‡Ì· Ô˘ ‰È·Ó¤Ô˘Ó Ù· ‰‡Ô ·ÁÁÂ›·, Ô‰‹-ÁËÛ·Ó ÙÔÓ Beazley ÛÙÔ Attic Black-Figure Vase-Painters (1956), ÛÂÏ. 449, Ó· ÙÈ˜·ÔÌÔÓÒÛÂÈ ·Ô‰›‰ÔÓÙ¿˜ ÙÈ˜ ÛÙÔ ›‰ÈÔ ¯¤ÚÈ Î·È ÔÓÔÌ¿˙ÔÓÙ·˜ ÙÔÓ ·ÓÒÓ˘ÌÔ ÎÂÚ·ÌÔ-ÁÚ¿ÊÔ ÙÔ˘˜ ÌÂ ÙÔ Û˘Ì‚·ÙÈÎfi fiÓÔÌ· ÙÔ˘ ∑ˆÁÚ¿ÊÔ˘ ÙË˜ ƒfi‰Ô˘ 10480. ª¤ÏËÌ¿Ì·˜ Â›Ó·È Ó· ÂÈÛËÌ¿ÓÔ˘ÌÂ ÙÈ˜ ÛÙ˘ÏÈÛÙÈÎ¤˜ ‰È·ÊÔÚ¤˜, ÛËÌ·ÓÙÈÎ¤˜ ÛÂ ÌÈ¿ ÚÒÙË·Ó¿ÁÓˆÛË, ·Ó¿ÌÂÛ· ÛÙ· ‰‡Ô ·ÁÁÂ›·, ÁÈ· Ó· Î·Ù·Ï‹ÍÔ˘ÌÂ fiÌˆ˜ fi¯È ·ÏÒ˜ ÛÙËÓ·Ô‰Ô¯‹ ÙË˜ ·fi‰ÔÛË˜, Ô˘ ¿ÏÏˆÛÙÂ Î·È Ë Î·ÙÔÈÓ‹ ¤ÚÂ˘Ó· ·ÎÔÏÔ‡ıËÛÂ ·ÓÂÈ-Ê‡Ï·ÎÙ·, ·ÏÏ¿ Ó· ÂÈ¯ÂÈÚ‹ÛÔ˘ÌÂ Ó· ÙÂÎÌËÚÈÒÛÔ˘ÌÂ Ù· Ô˘ÛÈ·ÛÙÈÎ¿ ÂÎÂ›Ó· ÛÙÔÈ-¯Â›·, Î·ıÒ˜ Î·È ÙË ‰È¿Ù·ÍË ÙË˜ Û‡ÓıÂÛË˜, Ô˘ ÂÓÒÓÔ˘Ó Ù· ‰‡Ô ¤ÚÁ·.

™ÙÔ ‰Â‡ÙÂÚÔ Ì¤ÚÔ˜ ÙÔ˘ ¿ÚıÚÔ˘ Ë ÌÂÏ¤ÙË ÂÈÎÂÓÙÚÒÓÂÙ·È ÛÙÈ˜ ÂÈÎÔÓÔÁÚ·ÊÈÎ¤˜È‰È·ÈÙÂÚfiÙËÙÂ˜ ÙˆÓ ÛÎËÓÒÓ ÙÔ˘ ¯ÈÏÈÔ‰Ô˘ÏÂÌ¤ÓÔ˘ ÛÙËÓ Î˘ÚÈÔÏÂÍ›· ı¤Ì·ÙÔ˜ ÙÔ˘∏Ú·ÎÏ‹ ÌÂ ÙÔ ÏÈÔÓÙ¿ÚÈ ÙË˜ ¡ÂÌ¤·˜ ÛÙÔÓ ·ıËÓ·˚Îfi ÌÂÏ·ÓfiÌÔÚÊÔ Ú˘ıÌfi. ΔÔ Úfi-‚ÏËÌ· Ô˘ ‹‰Ë ··Û¯fiÏËÛÂ ÙËÓ ¤ÚÂ˘Ó· Â›Ó·È Â¿Ó Ú¿ÁÌ·ÙÈ ÚfiÎÂÈÙ·È ÁÈ· ÙÔÓ ∏Ú·-ÎÏ‹ Î·È ÙÔÓ ¿ıÏÔ ÙÔ˘, ·ÊÔ‡ Ô ‹Úˆ·˜ ·ÚÔ˘ÛÈ¿˙ÂÙ·È ÌÂ ÓÂ·ÓÈÎ‹ ÌÔÚÊ‹, ·Á¤ÓÂÈÔ˜,fiˆ˜ ¿ÏÏˆÛÙÂ Î·È ÔÈ ‰‡Ô ‰ÔÚ˘ÊÔÚÔ‡ÓÙÂ˜ ¤ÊË‚ÔÈ Ô˘ ÙÔÓ Ï·ÈÛÈÒÓÔ˘Ó, Î·È ÂÈ-ÚfiÛıÂÙ· ‰ÂÓ ÂÈÎÔÓ›˙ÔÓÙ·È Ù· ·Ó·ÁÓˆÚÈÛÙÈÎ¿ Û‡Ì‚ÔÏ¿ ÙÔ˘, ÙÔ˘Ï¿¯ÈÛÙÔÓ ÛÙËÓÚÒÙË fiÏË 10480. ªÂÙ¿ ·fi ÙËÓ ¤ÓÙ·ÍË ÙˆÓ Û˘ÁÎÂÎÚÈÌ¤ÓˆÓ ÛÎËÓÒÓ ÛÙÔÓ ÂÈÎÔ-ÓÔÁÚ·ÊÈÎfi Ù‡Ô ÙË˜ fiÚıÈ·˜ ¿ÏË˜ Û˘˙ËÙÈ¤Ù·È ·Ó·Ï˘ÙÈÎ¿ Ë È‰ÈÔÌÔÚÊ›· ÙˆÓ ÌÔÚ-


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ÊÒÓ Î·È ÔÈ È‰È·ÈÙÂÚfiÙËÙÂ˜ ÙˆÓ ÛÙÔÈ¯Â›ˆÓ ÛÙÈ˜ ‰‡Ô ÛÎËÓ¤˜. ∏ ÂÚÌËÓÂ›· ÙÔ˘ ·Á¤ÓÂÈÔ˘∏Ú·ÎÏ‹, ÙÔÓ ÔÔ›Ô ÔÈ ¶ÚˆÙÔfiÚÔÈ ÂÚ˘ıÚÔÌÔÚÊÔÁÚ¿ÊÔÈ, fiˆ˜ ÁÈ· ·Ú¿‰ÂÈÁÌ· Ô∑ˆÁÚ¿ÊÔ˜ ÙÔ˘ ∂˘ÂÚÁ›‰Ë, Ô ∑ˆÁÚ¿ÊÔ˜ ÙÔ˘ Ã¿ÚÔÔ˜, Ô ∑ˆÁÚ¿ÊÔ˜ ÙÔ˘ ∫ÏÂÔÊÚ¿-‰Ô˘˜ Î.¿., ·ÏÏ¿ Î·È ÎÔÚÔÏ¿ÛÙÂ˜ ÛÂ ‹ÏÈÓ· ·Ó¿ÁÏ˘Ê· ÙÔ˘ Ù¤ÏÔ˘˜ ÙÔ˘ 6Ô˘ ·È. .Ã.,Û˘ÏÏ·Ì‚¿ÓÔ˘Ó Î·È ·Ô‰›‰Ô˘Ó ÓÂ·ÓÈÎfi, Û‡ÌÊˆÓ· ÌÂ ÙËÓ ·ÏÏ·Á‹ ÙÔ˘ ÓÂ‡Ì·ÙÔ˜ÙË˜ ÂÔ¯‹˜ Â›Ó·È, Î·Ù¿ ÙË ÁÓÒÌË Ì·˜, Â‡ÏÔÁË. ÕÏÏˆÛÙÂ, ÛÙÔ ›‰ÈÔ ·˘Ùfi ÓÂ‡Ì·ÎÈÓÔ‡ÓÙ·È Î·È ·ÚÎÂÙÔ› ÔÌfiÙÂ¯ÓÔ› ÙÔ˘˜ ÌÂÏ·ÓÔÌÔÚÊÔÁÚ¿ÊÔÈ ÌÂÙ·ÁÚ¿ÊÔÓÙ·˜ ÙÔÓÙ‡Ô ÛÙË ‰ÈÎ‹ ÙÔ˘˜ ÙÂ¯ÓÈÎ‹. ∏ ·Ô˘Û›· ¯·Ú·ÎÙËÚÈÛÙÈÎÒÓ Û˘Ì‚fiÏˆÓ ÙÔ˘ ‹Úˆ·Â›ÛË˜ ‰ÂÓ Â›Ó·È ·fiÏ˘ÙË, ÁÈ·Ù› ÛÙË ÛÎËÓ‹ ÙË˜ fiÏË˜ 13351 Ô ÓÂ·Ó›·˜ ‰ÂÍÈ¿ ÙÔ˘∏Ú·ÎÏ‹ Â›Ó·È Ô Î·ÙÂÍÔ¯‹Ó ÚÔ·ÏÔÊfiÚÔ˜ ‹Úˆ·˜ ÌÂÙ¿ ÙÔÓ ∏Ú·ÎÏ‹, Ô Û‡ÓÙÚÔÊfi˜ÙÔ˘ πfiÏ·Ô˜, Ì·ÚÙ˘ÚËÌ¤ÓÔ˜ ÌÂ ÙÔ Úfi·ÏÔ ÙÔ˘ ‹Úˆ· ÛÂ ¿ÌÔÏÏÂ˜ ·Ú·ÛÙ¿ÛÂÈ˜ ÙÔ˘¿ıÏÔ˘ ÛÂ fiÏ· Ù· ÂÈÎÔÓÔÁÚ·ÊÈÎ¿ Û¯‹Ì·Ù·. ª¿ÏÈÛÙ·, ÙÔ Û‡Ì‚ÔÏÔ ÙÔ˘ ∏Ú·ÎÏ‹, ÙÔÚÔ˙È·ÛÌ¤ÓÔ Úfi·ÏÔ, ·Ô‰›‰ÂÙ·È ÌÂ È‰È·›ÙÂÚ· ÚÂ·ÏÈÛÙÈÎfi ÙÚfiÔ. ™ÙËÓ fiÏË 10480ÙÔÓ ‹Úˆ· ÌÂ ÙÔ ÏÈÔÓÙ¿ÚÈ Ï·ÈÛÈÒÓÔ˘Ó ‰ÔÚ˘ÊÔÚÔ‡ÓÙÂ˜ ÓÂ·Ó›Â˜, ‰ËÌÈÔ˘ÚÁÒÓÙ·˜¤ÙÛÈ ÌÈ·Ó ·ÚÌÔÓÈÎ‹, ÙÚÈ·‰ÈÎ‹ Ô˘ÛÈ·ÛÙÈÎ¿, Û‡ÓıÂÛË.

√È ÛÎËÓ¤˜ ÙˆÓ ‰‡Ô ÔÏÒÓ, Û‡ÌÊˆÓ· ÌÂ Ì›· ¿Ô„Ë ÙË˜ ÂÈÎÔÓÔÏÔÁÈÎ‹˜ ÚÔ-Û¤ÁÁÈÛË˜, ÓÔËÌ·ÙÔ‰ÔÙÔ‡ÓÙ·È ·fi «ÙÂÏÂÙÔ˘ÚÁ›Â˜ ÓÂ·ÓÈÒÓ» Û¯ÂÙÈ˙fiÌÂÓÂ˜ ÌÂ ÙËÓ Â›ÛÔ-‰fi ÙÔ˘˜ ÛÙËÓ ÂÊË‚Â›·. ∞ÌÊÈ‚¿ÏÏÔ˘ÌÂ fiÌˆ˜ Î·Ù¿ fiÛÔ ı· Â›¯·Ó ··Û¯ÔÏ‹ÛÂÈ Î·ÈÙÔÓ ·Ú¯·›Ô ÎÂÚ·ÌÔÁÚ¿ÊÔ, Ô ÔÔ›Ô˜ ÓÔÌ›˙Ô˘ÌÂ fiÙÈ, Â·Ó·Ï·Ì‚¿ÓÔÓÙ·˜ ¤Ó· ¯ÈÏÈÔ-ÂÈˆÌ¤ÓÔ ı¤Ì· ÌÂ Û¯ÂÙÈÎ‹ ÚˆÙÔÙ˘›·, ÚÔÛ¿ıËÛÂ Ó· Û˘Ó‰˘¿ÛÂÈ ÌÂ È‰È·›ÙÂÚËÂÚ›ÛÎÂ„Ë ÙÔ Û¯‹Ì· ÙˆÓ ·ÁÁÂ›ˆÓ ÙÔ˘ ÌÂ ÙË Û‡ÓıÂÛË ÙË˜ fiÚıÈ·˜ ¿ÏË˜, Ì¿ÏÈÛÙ··Ó·ÌÈÁÓ‡ÔÓÙ·˜ Î·È ÛÙÔÈ¯Â›· ·fi ¿ÏÏ· ÂÈÎÔÓÈÛÙÈÎ¿ ı¤Ì·Ù·. ªÂ ·˘Ùfi ÙÔÓ ÙÚfiÔ ·Ô-ÛÎÔÔ‡ÛÂ ·ÔÎÏÂÈÛÙÈÎ¿ ÛÙËÓ Â˘ÎÔÏfiÙÂÚË ‰È¿ıÂÛË ÙˆÓ ÚÔ˚fiÓÙˆÓ ÙÔ˘ ÂÚÁ·ÛÙË-Ú›Ô˘ ÙÔ˘.

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¶ π ¡ ∞ ∫ ∂ ™ - P L AT E S

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PL. 34 ¶π¡. 34

Athenian black figure Olpe inv. no. 10480 in the Archaeological Museum of Rhodes.

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PL. 35 ¶π¡. 35


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PL. 36 ¶π¡. 36


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PL. 37 ¶π¡. 37


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HERAKLES AND THE NEMEAN LION ON RHODES: Two Athenian Black Figure Olpai from Ialysos and Camiros

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Transcript of HERAKLES AND THE NEMEAN LION ON RHODES: Two Athenian Black Figure Olpai from Ialysos and Camiros