Part 6

In the principal post-Homeric versions, the Tyrrhenians endeavor to kidnap Dionysos under pretext of conveying him to Naxos, the circumstances being variously related. Thus in the [Greek: Naxiaca] of Aglaosthenes (_apud_ HYGIN. Poet. Astronom. II. 17), the child Dionysos and his companions are to be taken to the nymphs, his nurses. According to Ovid,[84] the pirates find the god on the shore of Chios, stupid with sleep and wine, and bring him on board their vessel. On awaking he desires to be conveyed to Naxos, but the pirates turn to the left, whereupon, as they give no heed to his remonstrances, they are changed to dolphins and leap into the sea. Similarly Servius, _Ad. Verg. Aen._, I. 67. In the _Fabulæ_ of Hyginus (CXXXIV), and in Pseudo-Apollodorus,[85] Dionysos engages passage with the Tyrrhenians. Nonnus, however, returns to the Homeric story, which he has modified, extended, and embellished in his own peculiar way.[86] These versions, to which may be added that of Seneca,[87] all agree in making the scene take place on shipboard, and, if we except the "comites" of Aglaosthenes, in none of them is the god accompanied by a retinue of satyrs. But Philostratus[88] pretends to describe a painting, in which two Page 46 ships are portrayed, the pirate-craft lying in ambush for the other, which bears Dionysos and his rout.

[Footnote 84: _Met._, III. 605 ff.]

[Footnote 85: _Bibliotheca_, III. 5. 3.]

[Footnote 86: _Dionys._, XLV. 119 ff.]

[Footnote 87: _Oedipus_, VV. 455-473.]

[Footnote 88: _Imag._, I. 19.]

In our frieze, however, the myth is represented in an entirely different manner. The scene is not laid on shipboard, but near the shore of the sea, where, as the action shows, Dionysos and his attendant satyrs are enjoying the contents of two large craters, when they are attacked by pirates. The satyrs who are characterized as such by their tails, and in most cases (9 + 2:7) by the panther-skin, forthwith take summary vengeance upon their assailants, of whom some are bound, others beaten and burned, while others take refuge in the sea, only to be changed into dolphins by the invisible power of the god.

These modifications of the traditional form of the story have usually[89] been accounted for by the necessities of plastic art; and this view has in its favor that the representation in sculpture of any of the other versions which are known to us, would be attended by great difficulties of composition, and would certainly be much less effective. Reisch, however, has suggested[90] that this frieze illustrates the dithyrambus which won the prize on this occasion, and that the variations in the details of the story are due to this. There is no evidence for this hypothesis, inasmuch as we have no basis upon which to found an analogy, and know nothing whatever of the nature of the piece in which the chorus had figured.

[Footnote 89: _E.g._ OVERBECK, _Plastik³_, II. p. 92; Friedrichs-Wolters, _Bausteine_, p. 488.]

[Footnote 90: _Griech. Weihgeschenke_, p. 102.]

The general arrangement and technic of this relief, the skill with which unity of design is preserved despite the circular form, the energy of the action, and the variety of the grouping, have often been pointed out. More particularly, the harmony and symmetry, which the composition exhibits, have been noticed by most of the later writers who have had occasion to describe the frieze. It is here, however, that we find the divergencies and inaccuracies which have been alluded to above, and these are such as to merit a closer examination.

To begin with the central scene, which is characterized as such by the symmetrical grouping of two pairs of satyrs about the Page 47 god Dionysos and his panther and is externally defined by a crater at either side, we observe that, while the two satyrs immediately to the right (I¹) and left (I) of Dionysos (0), correspond in youth and in their attitude toward him, the satyr at the left (I) has a thyrsus and a mantle which the other does not possess. These figures have unfortunately suffered much; the central group is throughout badly damaged, the upper part of the body and the head of Dionysos especially so. Of the tail of the panther as drawn in Stuart's work, no trace exists. The faces of the two satyrs and the head of the thyrsus are also much mutilated. The other two satyrs (II: II¹), whose faces are also mutilated, correspond very closely in youth, action, and nudity. In these two pairs of figures it is also to be noticed that the heads of I and II at the left face the central group, while the heads of I¹ and II¹ at the right are turned away from the centre, toward the right. By this device the sculptor has obviated any awkwardness which might arise from the necessity of placing Dionysos in profile.

Passing now to the scenes outside of the vases, we observe that, of the first pair of satyrs, the bearded figure at the left (III), leans upon a tree-stump, over which is thrown his panther-skin, as he contemplates the contest between his fellows and the pirates, while against his right side rests a thyrsus. The corresponding satyr on the right (III¹), also bearded, but with his head now nearly effaced, wears his mantle slung over the left shoulder as he advances to the right, offering with his right hand the freshly filled wine-cup to a youthful companion (IV¹). The latter, with panther-skin over left shoulder and arm, and club (partially effaced) in outstretched right hand, is moving rapidly to the right, as if to join in the battle; his face (also somewhat mutilated) is

## partly turned to the left, and despite his attitude of refusal

he forms a sort of group with his neighbor on that side (III¹), and has no connection, as has been wrongly assumed,[91] with the following group to the right (V¹). Corresponding with this youthful satyr, we have on the left (IV) a nude bearded satyr (face somewhat damaged,) armed with a torch instead of a club, moving swiftly to the left to take Page 48 part in the contest. He has no group-relation with his neighbor on the right (III), although he maybe supposed to have just left him. The relation is not sufficiently marked in the case of the corresponding figures on the other side (III¹, IV¹) to injure the symmetry.

[Footnote 91: _British Museum Marbles,_ IX, p. 114.]

These two pairs of satyrs serve to express the transition from the untroubled ease of Dionysos and his immediate attendants, to the violence and confusion of the struggle. Thus the first pair (III: III¹) seem to feel that their active participation is unnecessary, and so belong rather to the central scene; while the second pair (iv: iv¹), hurrying to the combat, are to be reckoned rather with those who are actively engaged. This is also emphasized by the symmetrical alternation of young and old satyrs, _i.e._:

old young old young old young VIa Vb IV IV¹ V¹b VI¹b

and by their correspondence to VII: VII¹.

On the left side we have next a group, turned toward the right, consisting of a young satyr with flowing panther-skin (Vb), who places his left knee on the back of a prostrate pirate (Va) whom he is about to strike with a club which he holds in his uplifted right hand. The pirate (face now somewhat damaged) is, like all of his fellows, youthful and nude. The corresponding group on the right, faces the left, and represents a nude bearded satyr (V¹,) with left knee on the hip of a fallen pirate (V¹a), whose hands he is about to bind behind his back. Thus the arrangement of the two groups corresponds, but the action is somewhat different.

I now wish to point out an error which is interesting and instructive as illustrating how mistakes creep into standard archæological literature to the detriment of a proper appreciation of the original monuments; and I may perhaps hope not only to correct this error once for all, but also, in so doing, to make clearer certain noteworthy artistic qualities of this composition.

If we turn to the reproductions of the Lysikrates frieze in the common manuals of Greek sculpture, we find that the group (V¹) has exchanged places with the next group to the right (VI¹) while the corresponding groups on the left side (V, VI) retain their proper position. In order to detect the source of this confusion, we have only to examine the drawings of Stuart and Revett, from which nearly all the subsequent Page 49 illustrations are more or less directly derived. In the first volume of Stuart and Revett, the groups (V¹, IV¹) occupy plates XIII and XIV, and it is evident that the drawings have been in some way misplaced. These plates have been reproduced on a reduced scale in Meyer's _Gesch. d. bildenden Künste[92]_ (1825); Müller-Wieseler[93] (1854); Overbeck,[94] _Plastik³_ (1882); W.C. Perry, _History of Greek Sculpture[95]_ (1882); Mrs. L.M. Mitchell, _History of Ancient Sculpture;[96]_ Baumeister, _Denkmäler[97]_ (1887); Harrison and Verrall, _Andent Athens[98]_ (1890), and in all with the same misarrangement.

Nevertheless correct reproductions of the frieze, derived from other sources, have not been wholly lacking. There is, for example, a drawing of the whole monument by S. Pomardi in Dodwell's _Tour through Greece[99]_ (1819), in which the correct position of these groups is clearly indicated. In 1842 appeared volume IX of the _British Museum Marbles_ containing engravings of a cast made by direction of Lord Elgin, about 1800.[100] Inasmuch as this cast or similar copies have always been the chief sources for the study of the relief, owing to the unsatisfactory preservation of the original, it is the more strange that this mistake should have remained so long uncorrected,[101] or that Müller-Wieseler should imply[102] that their engraving was corrected from the British Museum publication, when no trace of such correction is to be found. A third drawing in which the true arrangement is shown, is the engraving after Hansen's restoration of the whole monument, published in Von Lützow's monograph[103] (1868). Although Stuart's arrangement violates the symmetry maintained between the other groups of the frieze, yet Overbeck[104] especially commends the symmetry shown in the composition of these portions of the relief.

[Footnote 92: _Tajel_ 25.]

[Footnote 96: I _Taf._ 37.]

[Footnote 94: II, p. 91.]

[Footnote 95: P. 474.]

[Footnote 96: P. 487.]

[Footnote 97: II, p. 841.]

[Footnote 98: P. 248.]

[Footnote 99: I, opposite p. 289.]

[Footnote 100: H. MEYER, _Gesch. der bildenden Künste_, II, p. 242. note 313.]

[Footnote 101: Since I first noticed the error from study of the original monument, it gives me pleasure to observe that Mr. Murray in his _History of Greek Sculpture_, II, p. 333, note, has remarked that there is a difference between Stuart's drawing and the cast, without, however, being able to determine positively which is correct, owing to lack of means of verification. He was inclined to agree with the cast.]

[Footnote 102: I, _Taf._, note 150: _Mit Berücksichtigung der Abbildungen nach später genommenen Gypsabgüssen in Ancient Marbles in the Brit, Mus._]

[Footnote 103: Between pp. 240 and 241.]

[Footnote 104: Plastik³, II, p. 94.]

Page 50 Now let us examine the symmetry as manifested in the corrected arrangement. After the figures which we have found to have a thoroughly symmetrical disposition, we have on the left side a group consisting of a bearded satyr (face damaged), with panther-skin (VI a), about to strike with his thyrsus a pirate kneeling at the left (VI b), with his hands bound behind his back. The face of this figure is also somewhat injured. The corresponding group on the right (VI¹ instead of the erroneous V¹), represents a youthful satyr with panther-skin thrown over his arm (VI¹ a), about to strike with the club which he holds in his uplifted right hand, a pirate (VI¹ b), who has been thrown on his back, and raises his left arm, partly in supplication and partly to ward off the blow. As in the groups V: V¹, so in VI: VI¹, persons, action, and arrangement, are closely symmetrical, while a graceful variety and harmony is effected by so modifying each of these elements as to repeat scarcely a detail in the several corresponding figures.

After these five fighters, we observe on the left a powerful bearded satyr (face much injured), with flowing panther-skin, facing the right, and wrenching away a branch from a tree (VII). The corresponding figure on the right side (VII¹) is a nude, bearded satyr, who is breaking down a branch of a tree. At first the correspondence does not seem to be maintained, for this satyr faces the right, whereas after the analogy of figures VII and IV we might expect him to face the left. But a closer examination shows that this lack of symmetry is apparent only when figures VII: VII¹ are considered individually, and apart from the scenes to which they belong. For while IV and VII, the outside figures of the main scene on the left, appropriately face each other, the figures IV¹ and VII¹, which occupy the same position with regard to the chief scene on the right, are placed so as to face in opposite directions. By this subtle device, for which the relation between the figures III¹ and IV¹ furnishes an evident motive, the sculptor has contrived to indicate distinctly the limits of these scenes, while the symmetry existing between them is heightened and emphasized by the avoidance of rigid uniformity.

The trees serve also to mark the end of the preceding scenes, and to contrast the land, upon which they stand, with the sea, of which we behold a portion on either side, while a pair of Page 51 corresponding, semi-human dolphins (VIII: VIII¹) are just leaping into the element which is to form their home. These dolphins are not quite accurately drawn in Stuart and Revett, for what appears as an under jaw is, as Dodwell[105] rightly pointed out, a fin, and their mouths are closed; the teeth, which are seen in Stuart's drawing and all subsequent reproductions of it, do not exist on the monument. The correct form of the head may be seen in the British Museum publication.

[Footnote 105: I, p. 290.]

After these dolphins, we have on each side another piece of land succeeded again by a stretch of sea. On these pieces of land are seen on each side two groups of two figures each, while a third incipient dolphin (0¹), which does not stand in group-relation with any of the other figures, leaps into the sea between them. In these groups there is a general correspondence, but it does not extend to particular positions or to accessories.

At the left we observe first a bearded satyr with torch and flowing panther-skin (IX a), pursuing a pirate, who flees to the left (IX b). The space between the satyr and his victim is in part occupied by a hole, which was probably cut for a beam at the time when the monument was built into the convent. In the corresponding places on the right side, we have a bearded satyr with panther-skin (IX¹ a), about to strike with the forked club which he holds in his uplifted right hand, a seated and bound pirate (IX¹ b), whose hair the satyr has clutched with his left hand. The heads of both figures are considerably damaged, and the lower part of the right leg of the pirate is quite effaced. To return to the left side, the tree at the left of the fleeing pirate (IX b), does not correspond with any thing on the right side. It serves to indicate the shore of the sea, while on the other side this is effected by the high rocks upon which the pirate (X¹ b) is seated.

The next group on the left is represented as at the very edge of the water, and consists of a nude bearded satyr (X b), who is dragging an overthrown pirate (X a) by the foot, with the evident intention of hurling him into the sea. The legs and the right arm of this pirate have been destroyed by another hole, similar to that which is found between figures IX and IX a. On Page 52 the right side, a bearded satyr, with flowing panther-skin (x¹ a) rushes to the right, thrusting a torch into the face of a pirate who is seated on a rock (x¹ b), with his hands bound behind his back. In his shoulder are fastened the fangs of a serpent, which is in keeping here as sacred to Dionysos. Perhaps, as Stuart has suggested,[106] he may be a metamorphosis of the cord with which the pirate's hands are bound; but the sculptor has not made this clear. The figures of this group, which were in tolerable preservation at the time when Lord Elgin's cast was made, have since been nearly effaced, particularly the face, legs and torch of the satyr, and the face and legs of the pirate, also the rocks upon which he is seated, and the serpent. Between these figures and the following dolphin, there is a third hole, similar to those mentioned already, and measuring 15x16 centimetres.

[Footnote 106: I, p. 34. Stuart cites Nonnus, _Dionys._ XLV. 137. _Cf._ also _Ancient Marbles in the British Mus._ IX. p. 115.]

The less rigid correspondence of these groups (x, ix: ix¹, x¹), as caused some difficulty. In the text of the _British Museum Marbles_[107], all that falls between the pair of dolphins (VII: VIII¹), is regarded as belonging to a separate composition, grouped about the single dolphin (0¹). But such an interpolated composition, besides having no purpose in itself, would vitiate the unity of the entire relief. For, although the circular form is less favorable to a strongly marked symmetry than is the plane, at least in compositions of small extent, still the individual figures and groups must bear some relation to a common centre, and there can be no division of interest, or mere stringing together of disconnected figures or groups of figures. Such a stringing together is assumed by Mr. Murray, when, in his _History of Greek Sculpture_,[108] he speaks of seven figures after the pair of dolphins, which, "though without direct responsion among themselves, still indicate the continued punishment of the pirates." In the pirate seated on the rocks (x b), however, Mr. Murray[109] finds what he calls a "sort of echo" of Dionysos, inasmuch as he is seated in a commanding position, and is attacked by the god's serpent. There is, to be sure, a certain external resemblance in the attitudes of the two figures, but direct Page 53 connection cannot be assumed without separating x¹ a from x¹ b, with which, however, it obviously forms a group, and entirely disregarding the relations which the groups x, ix: ix¹, x¹ bear to one another and to the dolphin 0¹. And this Mr. Murray does, when he takes seven figures, among which x¹ b is evidently to be considered as central instead of what is plainly four groups of two figures each, _plus_ one dolphin.

[Footnote 107: IX, p. 115.]

[Footnote 108: II, p. 333.]

[Footnote 109: II, p. 332.]

There is, as we have already said, a general correspondence between these groups. This is effected, in such a way that the group ix resembles x¹ in action and arrangement, rather than 9¹, which, on the other hand, resembles group x, rather than group ix. In other words, the diagonalism which we have noticed above in the arrangement of young and old satyrs (vi a, v b, iv: iv¹, v¹ b, vi¹ a), is extended here to the groups themselves.

Moreover, the stretches of sea with the paired dolphins (viii: viii¹), which are introduced between these groups and those which had preceded, are not to be regarded as separating the composition into two parts, but as connecting the central scene with similar scenes in a different locality. These scenes are again joined by another stretch of sea with the single dolphin (0¹), which thus forms the centre of the back of the relief, opposite Dionysos, and the terminus of the action which proceeds from the god toward either side.

I do not mean to say, however, that these scenes beyond the dolphins (viii: viii¹), are to be looked upon as a mere repetition of those which have preceded, distinguished only by greater license in the symmetry, or that the changes of locality have no other purpose than to lend variety to the

## action. On the contrary, if we examine the indications of

scenery in this relief, we see that those features by which the artist has characterized the place of this part of the action as the seashore, the trees near the water's edge, the alternating stretches of land and sea, the dolphins, the satyr pulling the pirate into the water (x), are confined to the space beyond the trees. In the scenes on the other side of the trees, there is not only no suggestion of the sea, but the rocks and the sequence of figures up to Dionysos indicate rather that his place of repose is some elevation near the seashore. The contrast between the more peaceful and luxurious surroundings of the god and the violent contest with the Page 54 pirates, is thus carried out and enforced by the sculptural indications of landscape, as well as by the leading lines of the composition. Though I would not imply that the composition of this frieze was in any way governed by the laws which rule similar compositions in pediments, it is interesting and instructive to note that the general principles of distribution of subject which have been followed, are somewhat similar to those which we can trace in the best-known pediments extant; thus, as the god in his more elevated position would occupy the centre of the pediment, so the low-lying seashore and the scenes which are being enacted upon it correspond to the wings at either side.

To recapitulate, the concordance of figures in this relief is then briefly as follows: In the central scene, _i.e._, inside the vases, and in the first pair of transitional figures (III, II, I: I¹), (II¹, III¹), equality of persons, but not of accessories (drapery, thyrsi); action symmetrical. In the immediately adjacent scenes, including the second pair of transitional figures and the satyrs at the trees (VII, VI, V, IV: IV¹, V¹, VI¹, VII¹), the persons are diagonally symmetrical in VIa, Vb, IV: IV¹, V¹b, VI¹a (_i.e._, old, young, old: young, old, young), equal in VII: VII¹. The drapery is diagonally symmetrical in Vb, IV: IV¹, V¹b (_i.e._, panther-skin, nudity: panther-skin, nudity), equal in VIa: VI¹a, not symmetrical in VII: VII¹, and the weapons are not symmetrical, except in VII: VII¹ (_i.e._, thyrsus, club, torch: club, no weapon, club). The action is symmetrical throughout, although not exactly the same in V: V¹. In the scenes beyond the dolphins, the persons are equivalent (X, IX: IX¹, X¹), while the action, drapery and weapons are harmonious, but not diagonally symmetrical (_i.e._, IXa = X¹a, but Xb IX¹a). At the left, a tree, at the right, a pile of rocks and a serpent.--The persons are, accordingly, symmetrical throughout; the action is so until past the dolphins (VIII: VIII¹); the drapery only in II: II¹, and in VI, V, IV: IV¹, V¹, VI¹; and the weapons not at all.