Painter and Poet in Ancient Greece: Iconography and the Literary Arts 3519076365, 9783519076360

Table of contents :
frontmatter......Page 1
Acknowledgements......Page 5
INIRODUCTION......Page 7
CONTENTS......Page 11
LIST OF ILLUSTRATIONS......Page 13
KEY TO SPECIAL ABBREVIATIONS......Page 21
MYSTERY ELEMENTS IN MENANDER'S DYSCOLUS......Page 29
THE ASS IN THE CULT OF DIONYSUS AS A SYMBOL OF TOIL AND SUFFERING......Page 43
THE SAMIA OF MENANDER: AN INTERPRETATION OF ITS PLOT AND THEME......Page 73
UNE CIBLE DE LA SATIRE: LE LOCUS AMOENUS......Page 95
SKIAGRAPHIA ONCE AGAIN......Page 109
ETHOS IN MENANDER......Page 147
THE HAPPY ENDING: CLASSICAL TRAGEDY AND APULIAN FUNERARY ART......Page 155
AESCHYLUS' NIOBE AND APULIAN FUNERARY SYMBOLISM......Page 171
RHETORIC AND VISUAL AIDS IN GREECE AND ROME......Page 203
THE HETAERA AND THE HOUSEWIFE: THE SPLITTING OF THE FEMALE PSYCHE IN GREEK ART......Page 219
THE BRINK OF DEATH IN CLASSICAL GREEK PAINTING......Page 247
Patriotic Propaganda and counter-cultural Protest in Athens as evidenced by Vase Painting......Page 273
The gentle Satire of the Penthesileia Painter: A new Cup with Dionysiac Motifs......Page 279
The social Position of Attic Vase Painters and the Birth of Caricature......Page 285
The Corpus Vasorum Antiquorum, the Lexicon Iconographicum Mythologiae Classicae and the Beazley Archive Project: Different Databases for the Study of Greek Iconography......Page 295
Clytemnestra and Telephus in Greek Vase-Painting......Page 315
The feminist View of the Past: A Comment on the ‘Decentering’ of the Poems of Ovid......Page 327
REMBRANDTS USE OF CLASSICAL MOTIFS......Page 333
THE GREEK MEDICAL TEXTS AND THE SEXUAL ETHOS OF ANCIENT ATHENS......Page 347
Scenes from Attic Tragedy on Vases found in Sicily and Lipari......Page 363
BIBLIOGRAPHY OF ORIGINAL PUBLICATIONS......Page 373
Figures......Page 377

Citation preview

Eva C. Keuls Painter and Poet in Ancient Greece

Beiträge zur Altertumskunde Herausgegeben von Ernst Heitsch, Ludwig Koenen, Reinhold Merkelbach, Clemens Zintzen Band 87

B. G. Teubner Stuttgart und Leipzig

Painter and Poet in Ancient Greece Iconography and the Literary Arts

Eva C. Keuls

B. G. Teubner Stuttgart und Leipzig 1997

Die Deutsche Bibliothek - CIP-Einheitsaufnahme Keuls, Eva: Painter and poet in ancient Greece: iconography and the literary arts / Eva C. Keuls. - Stuttgart; Leipzig: Teubner, 1997 (Beiträge zur Altertumskunde; Bd. 87) ISBN 3-519-07636-5 NE: GT Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt besonders für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. © B. G. Teubner Stuttgart 1997 Printed in Germany Druck und Bindung: Rock, Weinsberg

ACKNOWLEDGMENTS I am grateful to Professors Reinhold Merkelbach and Ludwig Koenen of the series BeitrttgezurAltertumskundeand to Herr Heinrich Kraemer of Teubner-Verlag for the opponunity to re-publish a selection of widely scattered essays in a monograph. I owe a special debt of gratitude to Ludwig Koenen for guiding me through the intricacies of formatting and footnoting by computer according to Teubner's standard scheme. The editors of the periodicals in which the essays were first published, have graciously given their pennission for reprinting. Chronologically the essays span twenty-six years, from my first published article on the Dyscolus of Menander, then freshly discovered, of 1969, here number I, to a recent article, number 20, still in press at the time of publication of this volume. That my first attempts at creative scholarship should still be valid and of some interest to classical scholars is due in large measure to the rigorous standards of relevance and accuracy upheld by the better journals in the field. The usually anonymous Readers employed by these publications repeatedly saved me from errors, and pointed out weaknesses in argumentation and inadequate consideration of previous scholarship. Had I not been subjected to this severe editorial critique, I doubt that I would experience much joy in becoming re-acquainted with my pristine endeavours. I thank these unknown benefactors and have in the course of time tried to repay their effons by being equally stem but constructive in assessing the output of younger scholars. Wherever possible, I have provided new and better photographs for the illustrations , and a number of museuins have made such available for this new edition. Their courtesy is acknowledged In the List of Illustrations.

INIRODUCTION The field of Classics has always been a kind of Area Studies, long before this concept was given name. A classicist is expected to be knowledgeable on all aspects of two very different dead civilizations, not only on their languages and literatures, but also on their political history, religious practices and representational arts. to name but a few different sub-disciplines. When I started my career as an investigative scholar in the nineteen sixties, the professional literature was already correspondingly diffuse. Since then the number of journals dedicated to a comprehensive view of the ancient Greek and Roman societies has multiplied, and, in addition, numerous new interdisciplinary serials have been initiated, that aim to cultivate a specific slant on the classical world. Add to this a proliferation of Festschrifrer and volumes of Acta of this and that conference, and a classicist might suddenly find that his or her thoughts are strewn over a vast and amorphous publication field, even though they spring from the same mainsprings of training and curiosity. Such has happened to this writer. After several decades of scholarship I find that my sixty or so small publications are dispersed over quite dissimilar journals and volumes, so that they do not appear to manifest an inner cohesion of thought Among other goals, the present volume aims to restore their perceptual unity, as manifested by a common focus on the connections between the visual and the verbal arts. Like Carl Robert in his seminal work Bild und Lied of 1881,I have come to believe that in the world of the Greeks of the classical age a more intensive interaction between visual and verbal imagery prevailed than in other past civilizations in the Western tradition. The foremost Hellenizers of all times, the Romans, whose culture constitutes our principal link with the Greeks, never recreated that close correspondence: in the fine arts they were not able to advance significantly beyond the techniques and visual vocabulary of the Greeks, whereas in literature, while starting out as imitators of Greek models, they in the end created genres, styles and modes of expressions all their own. As a result, the close ties between poetry and the representational arts that existed in classical Greek culture, have to be retraced by usdirectly from the originals. Another reason for publishing this slight volume is the circumstance that the vagaries of routine scholarly publication are such that one's more innovative theories are not always published in outlets with the widest

6 The three articles first published in the Mededelingenvan het Nederlands Instituut te Rome (numbers 7, 10 and 11) are a case in point. Not infrequently. I repaid the cordial hospitality of this admlrable institution with lectures on my freshest research, which were subsequently routinely published in the lnstitut e's own journal (now discontinued), a serial with impeccable scholarly standards, but that did not necessarily fmd its way to every scholar's desktop. While making a selection of articles for this volume , I have tried to avoid duplication, whether of essays with each other, or of Gedankengut first published in article form and later integrated into a monograph. For the very reason of the iMer cohesion of thought, this has not been totally possible. However, every article here included makes a scholarly statement not elsewhere published. Although my first iconographical essay, "The Ass of Dionysus ..." (here number 2, unfortunately not Illustrated), eventually led to a monograph (The WaterCarriersin Hades:A Study of Catharsisthrough Toil of 1974), it contains much material not there repeated. Similarly, the argument presented In "Sklagraphla once Again " (number 5), was summarized in my book Plato and Greek Painting of 1978. Since the article states my rather controversial theory concerning a pointillistic painting technique in classical Athens more fully than I could unfold It in the monograph, I deemed it worthy to be Included here. My essay on the fragmentation of the female in Greek representational an (number 10), was preliminary to my book on women in classical Athens (Th.eReign of the Phallus: SexualPoliticsin ancientAthens, first edition 1985), but only partically subsumed in that monograph. On the other hand I excluded its companion piece "Attic Vase Painting and the Horne Textile Industry" in Ancient Greek Painting and Iconography (Warren S. Moon, editor, of 1983), even though I believe it to have been more influential, because it anticipated the book version more fully. Numbers 7 and 8 are corollaries and in pan based on the same illustrations. Together, they present my theory of the tendentious interpretation (or rather misinterpretation) of classical tragedy by the manufacturers of Apulian funerary an. The view of the Apulian treatment of tragic plot material essentially as "consolation rhetoric," underlies the distinction I make between Apulian theater iconography and that of the other Greek colonies in Italy, In article number 20, on the Sicilian pictorial treatment of tragic motifs. distribution.

7

Number 12, on Attic vase painting as patriotic propaganda , was published unchanged from the reading text, and hence has no footnoting apparatus. I beg the forbearance of readers interested in this topic, who may be annoyed by this omission, particularly because my interpretation of the spectacular Theseus cup in Ferrara. by the hand of the artist we know as lhe Pentheslleia Painter, differs significantly from that by other scholars. I apologize to such readers for the inconvenience, but trust that they can readily locate the relevant literature through the catalogues by Sir John Beazley and their Supplements. Number 13, also a study of the specific compositional techniques of the Penthesileia Painter, was published under the press of a close publication deadline, and is inadequately documented it appeared in one of those rare Festschrifterthat actually take its recipient by surprise -- perhaps an insult to lhe scholar honored by the volume, Professor Konrad Schauenburg, himself renowned, among other things, for his meticulous command of the relevant scholarly literature. Since these two articles introduce not only new views, but also new and unfamiliar vase paintings, perhaps the reader will forgive me for my shortcomings in background documentation. I have made small editorial corrections, and homogenized spelling and transliteration wherever this could be done easily. I have, for instance, changed "italiote" to the now commonly accepted American-English spelling of "italiot", but standardizing different styles of abbreviation and footnoting, as practiced by the various scholarly journals and publishing houses, did not seem worthwhile. Because there are duplicate usages of some photographs, for the sake of economy these have been printed only once and numbered consecutively, so that the reader at times may have to leaf back and forth to locate the appropriate illustrations. Wherever different views of the same artifact are reproduced in different contexts, there are cues to that effect in the List of Illustrations.

CONTENTS

Acknowledgements

3

Introduction

5

List of Illustrations

11

Key to special Abbreviations

19

1. Mystery Elements in Menander'sDyscolus

27

2. The Ass in the Cult of Dionysusas a Symbolof Toil and 3.

4.

Suffering

41

The Samia of Menander:An Interpretationof its Plot and Theme

71

Une Cible de la Satire : Le locusamoenus

93

5. Skiagraphiaonce again

107

6. Ethos in Menander

145

7.

The happy Ending : Oassical Tragedy and Apulianfunerary Art

8. Aeschylus'Niche and ApulianfunerarySymbolism 9.

Rhetoric and visual Aids in Greeceand Rome

153 169

201

10. The Hetaera and the Housewife: The Splittingof the female Psyche in Greek Art

217

11. The Brink of Death in ClassicalGreek Painting

245

10 12. Patriotic Propaganda and counter-cultural Protest in Athens as evidenced by Vase Painting

271

13. The gentle Satire of the Penthesileia Painter : A new Cup with Dionysiac Motifs

277

14. Toe social Position of Attic Vase Painiers and the Binh of

Caricature

283

15. Toe CorpusVasorumAnziquorum, the Lexicon Iconographicum MythologiaeClassicaeand the Beazley Archive Project : DifferentDatabasesfor the Study of Greek Ioonography

293

I 6. Clytemnestra and Telephus in Gre.ekVase-Painting

313

17. The feminist View of the Past : A Comment on the 'Decenrering' of the Poemsof Ovid

325

18. Rembrandt's Use of Classical Motifs

331

19. Toe Greek medical Texts and the sexual Ethos of ancient Athens

345

20. Scenes from Attic Tragedy on Vases found in Sicily and

Lipari Bibliography of original Publications

361 371

LIST OF ILLUSTRATIONS Figure 1, The subtractivecolor system Figure 2, The additive color system. 1 and 2 after WilliamInnes Homer, Seurat and the Science of Painting, Cambridge,Mass. 1964,Figs 3 and 4. Courtesy MIT Press Figure 3, London F 149, Paestan bell krater by Python. Photo courtesy BritishMuseum Figure 4, Berlin 1969.9,Apuliankalyx krater by the Branca Painter. Photo courtesy StaatlicheMuseen Figure 5, Sydney 71.01, Campanianhydria. Photo courtesy Nicholson Museum Figure 6, Naples 3246, Apulian loutrophoros. After Trendall, RA 1972, 310, Fig. I Figure 7, Taranto 4600, Apulian calyx krater. After Schauenburg, AuA 10 ( 1961) Pl. XIII, Fig. 25 Figure 8, London F 159, Apulian volute krater. Photo courtesy British Museum Figure 9, Taranto 8935, Apulian amphora (neck). After Trendall, RA 1972, 315, Fig. 5 Figure 10, Taranto 8928, Apulian plate. After Phillips, Andromeda Pl. I0, Fig. 23 Figure 11,Bonn 99, Apulian amphora.After Schauenburg RM 64 (1957) Pl. 37,1 Figure 12, Basel S 25, Apulianvolute krater by the GanymedePainter. Photo courtesy Antikenmuseumund SamrnlungLudwig

12 Figure 13, Bari 5591, Apulian loutrophoros. After Phillips, Andromeda, Pl. 2 Fig. 30 Figure 14, Berlin 2289, cup by Douris. Photo courtesy Staatliche Museen Figure 15, Athens 1584,Attic pyxis. Photo by the author Figure 16, New York 31.11.10. Attic black-figuredlekythos by the Amasis Painter. Photo courtesy MetropolitanMuseum of Art Figure 17, Washington D.C., Smithsonian Museum, Apulian hydria. Photo by the author Figure 18, Basel BS 456, amphora by the Berlin Painter. Photo courtesy Antikenmusewnund SammlungLudwig Figure 19, Cleveland,CMA 70,216, neck amphora attributed to the Painter of Berlin 1899(detail) Figure 20, Apulian terracotta loom weight, probably fourth century B.C. Drawing after BCH 32 (1908)Pl. VIl,3 Figure 21, Rome, Villa Giulia 47457, Attic black-figuredhydria, second half of the sixth century. Photo courtesy Villa Giulia Museum Figure 22, Detroit 63.13, hydria by the Pig Painter. Photo courtesy Museumof Fine Arts Figure 23, Same as above (detail) Figure 24, Heidelberg 64/5, kalpis by the Naus~

Painter

Figure 25, New York 37.11,19, Attic chous. Photo courtesy Metropolitan Museumof Art Figure 26, Munich 440, Attic stamnos

13 figure 27, Basel art market (Miinzen-und Medaillenkabinett)1977,Attic kylix by the Curtis Painter Figure 28, London E 44, kylix by Onesimos. Photo courtesy British Mu.scum Figure 29, Brussels A 717, stamnos by Smilcros. Photo courtesy Musres des Beaux Arts et d'Histoire Figure 30, Rome, Museo NazionaleRomano, "LudovisiTiuone", front panel Figure 31, same as above, left panel Figure 32, same as above, right panel Figure 33, Toledo, Ohio 72.55, kylix by Makron Figure 34, same asabove, opposite rim Figure 35, same as above, tondo Figure 36, London B245, Attic black-figuredamphora Photo courtesy British Museum Figure 37, Louvre G 3, amphora signed by Oltos as painter and Pamphalosas potter Figure 38, Vienna 741, amphoraby the Berlin Painter. Photo courtesy KunsthistorischesMuseum Figure 39, Vatican H 525, Attic oenochoe Figure 40, Berlin 1968,11, Apulian volute krater of the Berlin-Branca Group Figure 41, Munich 2688, cup by the PenthesileiaPainter

14 Figure 42, Museo Nazionale, Naples, the Alexander mosaic Figure 43, Frankfurt a/M, Stlldel lnstitut, kylix by Brygos as potter Figure 44, same as above Figure 45, FerraraT 18, kylix by the PeotbesileiaPainter, tondo and inside rim (drawing) Figure 46, same as above, outside Figw-e47, Boston 59.176, calyx krater by lhe Altamura Painter Figure 48, same as above, reverse Figure 49, Hamburg, private collection, kylix by the Pentheseleia Painter Figure 50, same as above, reverse Figure 51, same as above, tondo Figure 52, Hamburg, private collection, Attic fragmentof a tondo Figure 53, Athens 1607, squat lekythos by Polion Figure 54, Vatican 16.541,kylix by the OedipusPainter Figure 55, Gotha 80, kylix by the Veii Painter Figure 56, Malibu CA 80 AE 34. squat lekythosattributed to the Eretria Painter Figure 57, Taranto, Ragusa Collection 74, Apuliaooenochoe by or near the Felton Painter Figure 58, same as above, reverse Figure 59,Munich 2421, hydria by Phintias

15

Figure 60, same as above, shoulder detail Figure 61, Munich 2307, belly amphora by Euthymides Figure 62, Brussels A 717, stamnos by Smilcros(same item as Figure 29) Figure 63, Munich 8935, fragment of a kalyx krater by Euphronius Figure 64, Malibu 82.AE.53,psylcterby Smikros (detail) Figure 65, Malibu 80.AE.31,kylix by Phintias Figure 66, same as above, reverse Figure 67, Athens, AcropolisMuseum,fragmentof an Attic kylix. After Dieter Metzler,PortrtJtund Gesellschaft,Fig. 10 Figure 68, Athens,AcropolisMuseum,fragmentof an Attic kylix. After J. Frei, p. 285, note 1, Fig. 5 Figure 69, Brussels A 717, stamnos by Smikros (same item as in Figures

29 and 62) (detail) Figure 70, Malibu 8~.AE.53, psykter by Smilcros(same item as in Figure 64) Figure 71, Berlin F 2294, kylix by the Foundry Painter Figure 72, Chiusi 63.564, skyphos by the Penelope Painter Figure 73, Malibu 80.AE.1304,unattributedskyphos Figure 74, same as above, reverse Figure 75, Ferrara T 18, kylix by the PenthesileiaPainter, drawing, (same item as in Figures 45 and 46)

16

Figure 76, lost Apulian vase. Drawing after W. Tischbein,Collectionof Engravingsfrom ancientVases, 1791-95,2, PI. 6 Figure 77, Ferrara T 269, unattributedkylix. ARV 1280,64 Figure 78, Vienna 3725, pelike by the Berlin Painter Figure 79, Berlin F 2301, kylix by the Brygos Painter. Photo courtesy StaatlicheMuseen Figure 80, London E 382, pelike. Photo courtesy British Museum Figure 81, Antiquitiesmarket, Apulianvolute krater. After RM 90 0983) PI. 81,1 Figure 82, Berlin 3974, late Atticcalyx krater. Photo courtesyStaatliche Museen Figure 83, Boston 1970,487, Faliscan calyx krater by the Nazzano Painter. Photo courtesyMuseum of Fine Arts Figure 84, private collection,Paestancalyx krater by Asteas. After RM 90 (1983) Pl. 84,l Figure 85, Naples RC 141 (inv. 86064),Campanianhydria by the Ixion Painter Figure 86, Bari 12531,Lucanian bell krater by the Ragusa Painter. Photo courtesy Prof. A. D. Trendall Figure 87, WilrzburgH 5692, Apulianbell krater. Photo courtesy Martin von Wagner Museum Figure 88, Amsterdam,Rijksmuseum,Portraitof HaesjeJacobsdochler van Cleyburgby Rembrandt

17

Figure 89, Louisville, Kentucky,J. B. Speed Art Museum, Womanin a Ruff Collarand WhiteCap by Rembrandt Figure 90, St.Petersburg,Hermitage. Danal Visitedby Z.eus(?) by Rembrandt Figure 91, Dresden, Gemllldegalerie1635, The Rape of Ganymedeby Rembrandt Figure 92, Washington,D.C., The National Gallery of Art, The Suicide of Lucretiaby Rembrandt Figure 93, MinneapolisInstituteof Arts, The Suicideof Lucretiaby Rembrandt Figure 94, Syracuse 66557,Sicilian calyx krater by the CapodarsoPainter Figure 95, Caltanisetta,MuseoCivico,Siciliankalyx Jcrarerby the CapodarsoPainter, LCS 601 Figure 96, Berlin F 3296, Sicilian kalyx kraterby the Dirce Painter Figure 97, Syracuse-36334, Siciliankalyx kraterby the Dirce Painter Figure 98, Lipari, Musco Eoliano9341, Siciliankalyx krater by the AdrastosPainter Figure 99, Lipari, Museo Eoliano 927, Paestan kalyx krater in the group of LouvreK240 Figure 100, Lipari, Museo Eoliano9671, Campaniankalyx krater in the Prado-Fienga Group Figure 101, Lipari, MuseoEoliano 317. Campaniankalyx krater in the Revel Painter Group Figure 102, Lipari, Museo Eoliano9604, Paestankalyx krater by the Painter of Louvre K 240

18

Figure 103, Lipari, MuseoEoliano9558,Paestankalyx krater by the Painterof LouvreK 240

KEY TO SPECIALABBREVIATIONS Aleshire (1989): S.B. Aleshire, The AthenianAsklepieion: The People, theirDediCIJJions and the Inventories,Amsterdam Aleshire (1991): eadem, Asklepios at Athens, Athens Andreae,Alexillldernwsaik: BernardAndreae,Das Alexandennosaik (Opus Nobile Heft 14) Bremen 1959 Austin, Samia : Colin Austin (ed.), MenandriAspis et Samia, I (Textus cum apparatu criticoet indices);II (Subsidiainterpretationis),Berlin 1969-70 Bauchhenss-Thiiriedl:C. Bauchhenss-ThUriedl,Der Mythos von Telephus in der griechischenKunst,Berlin 1971 Boardman: John Boardman,GreekSculpture: The ClassicalPeriod, London/NewYorlc1985

Brommer: F. Brommer,The Sculpturesof the Parthenon,Basel 1979 Bruno, Form and Coler. VincentJ. Bruno, Form and Coler in Greek Pmnring, Diss. ColumbiaU. 1969(UniversityMicrofilms70-6942)

Chevreul-Birren: M.E. Chevreul,The Principlu of Hannony and Contrast of Colers and their Applicationsto the Arts, ttansl. from the French, with a specialintroductionandexplanatorynotes by F~ Birrell, New Yorlc1967 Cohen: DJ. Cohen, L. !Aw, Sexuality and Society: The Enforcmient of Morals in ClassicalAthens, New Yorlc1991 Cohn-Haft: L. Cohn-Haft,The Public Physiciansof Ancient Greece (Smith College Studies in History 42), Northampton,Mass., 1956 Cook. Zeus: A.B. Cook. Zeus I. Cambridge 1914;II, 1925;ll, 1940

20

Cumont,Recherches::Franz Cumont,Recherchessur le symbolisme funerairedes Romains,Paris 1942 Davies: J.K. Davies,AlhenianPropertiedFamilies,Oxford 1971 Devereux: "Greekpseudo-Homosexuality and the Greek Miracle", SymbolaeOsloenses42 (1967) 69-92 Diepolder,Penthesilea-Maler: HansDiepolder,Der Penthesilea-Mal.er, Leipzig 1936 Dover: K.J. Dover, GreekHomosexuality,Cambridge, Mass., 1978 Ducrey (1968): Pierre Ducrey,Le Traite~nt des prisonniersde gue"e dans la Greceantique,Paris Ducrey (1981): idem."M6dicinemilitaire en Greceet Rome"in Medicine Antique,Cataloguede l'exposilion,Lausanne,81-92 Edelstein (1940): Ludwig Edelstein,Review ofW. Jaeger, Dioklesvon Karystos,AmericanJournalof Philology61, 483-489 Edelstein(1945): E.J. and L. Edelstein,Asclepius:A Collectionand lnterpreunionof the Testimonies2 vols, Baltimore Ghali-Kahil: Lilly B. Ghali-Kahil, Les Enlevementset le retourd'Helene

dans les texteser les documentsfigures,2 Vols, Paris 1955 Gombrich, Illusion: E.H. Gombrich,Art andIllusion:A Study in the Psychology of pictorialRepresentation. Princeton1960 Gompen, Sophistik und Rhetorik: H. Gompen, Sophistikund Rhetorik: DasBildungsidealdes 'EuLegein 'inseinemVerhaltniszur Philosophiedes V. Jahrhundns, Berlin/Leipzig1912 Halperin(1986): DavidHalperin,"Plato anderotic Reciprocity",Classical Antiquity5, 60-80

21 Halperin (1989): idem,OneHundred Yearsof Homosexualityand other Essays on GreekLove, New York Halperin (1990):idem,"Toe DemocraticBody: Prostitution and Citizenshipin Classical Athens",Differences2, 1-28 Handley-Rea: E.J. Handley and J. Rea, The Telephosof Euripides,BICS Suppl. 5, 1957 Hanson (1989): V.D. Hanson, (ed.) 77zeWesternWay of War: Infantry Banle in ClassicalGreece,New York Hanson (1991): idem,17zeclassicalGreekBattle Experience, London/NewYork Hardt, Menandre : Menandre,Entretiensde la FondationHardt, Tome XVI (1970), ed. E.G. Turner Helbig-Speier,Fuhrer. WolfgangHelbig and Hermine Speier, Fuhrer

durchdie lJjfentlichen SammlungenklassischerAltenumer in Rom, 2 vols, TUbingen1963 and 1966

ff(>)scher , Historienbilder.Tonio H6lscher, GriechischeHistorienbilder des 5. und 4. Jahrhundensvor Christus,WUnburg 1973 Jacob: 0 . Jacob, "LesCites grccques et les bless6sde guerre" in Melanges Glotz n, Paris 1932, 461-481 Jacques, La Samienne: Jean-MarieJacques (ed.), La Samienne,Paris 1971

Jaeger: WernerJaeger, DioklesvonKarystos:Die griecmscheMedizinund die Schuledes Aristoteles,Berlin 1938 Jones: W.H.S.Jones (ed.), Hippokrates Vol. I (Loeb Classical Library), Cambridge, Mass/London 1923 Keuls, Plato: E.C. Keuls, Plato and GreekPainting,Leiden 1978

22

Keuls (1985/1993): eadem,TheReignof the Phallus: SexualPoliticsin AncientAthens.NewYork/ Berkeley Keuls (1986): eadem,"The social Positionof Attic Vase Painters and the Birth of Caricature" in J. Ouistiansen (ed.) Proceedingsof the Third Symposium on ancient Greek and relate.dPottery, Copenhagen 60-80 (herenumber 14) Keuls, WaterCarriers:eadem,TheWaterCarriersin Hades: A Studyof CatharsisthroughToilin classicalAntiquily,Amsterdam1974 Kroll, Rhetorik:Wilhelm Kroll, article "Rhetorik"RE Supplementband VII (1940) 1039-1138 Lausberg,Handbuch:Heinrich Lausberg, Handbuchder literari.rchen Rhetorik.Munich 1960 Lesky: Albin Lesky, article "Niobe",RE s.v. (1936) 644-706 Mark: J.S. Mark, "The Gods in the East Frieze of the Parthenon", Hesperia53 (1984)289-342 Merkelbach,Roman: Reinhold Merkelbach, RomanundMysteriumin der Antike,Munich/Berlin1962 Meschi: "II Monumentodi Telemachos, fondatoredell' Asklepieion

Ateniese", AnnuariodellaScuolaArcheologicadi Atene 45-46 (1969) 381-436 Meu.e: Hans Joachim Mette, Die Fragmen1e der TragtJdiedes Aischylos, Berlin 1959

Mette, Aischylos: idem, Der verloreneAischylos, Beclin 1963 Moret, Ilioupersis: Jean-Ma.reMoret,L1lioupersisdans la ceramique italiore:Les myrheset leur expressionjigur~e au TVesiecle,2 Vols, Rome 1975

23

Napoli, Tujfatore: MarioNapoli, La Tombade/ tujfatore: La Scoperta dellagrandepilturagreca,Bari 1970 Overbeck: J. Overbeck,Die antikenSchriftquel/enzur Geschichteder bildendenKti.nscebei den Griechen,Leipzig 1868 (reprint 1959) Patzer: H. Patzer, Die griechischeKnabenliebe,Wiesbaden 1982 Phillips, Andromeda: Kyle M. Phillips, Jr., "Perseus and Andromeda", AmericanJournalof Archaeology 72 (1968) 1.23 Pollitt, Tenninology: J.J. Pollitt, The criticalTenninologyof rhe visual

Arts in ancientGreece,Diss. ColumbiaU. 1963 Robert, Bild und Lied: Carl Robert, Bild undLied: Archltologische Beitrligezur Geschichteder griechischenHeldensage (Philologische Untersuchungen5) Berlin 1881 Robinson: M . Robinson and E.J. Fluck, A Study a/Greek Love•Names, Baltimore 1937 Roscher: W.H. Roscher, AusjlJhrlichesLexikonder griechischenund r(;mischenMychologie,Leipzig 1884·1937 Rumpf, Malerei: AndreasRumpf, Malereiund 7.eichnungder klassischen Antike (HAW 6,4) Munich 1953 Schmidt,Grabvasen: MargotSchmidt,ArthurDale Trendalland AlexanderCambitoglou,Eine G,uppe ApulischerGrabvasenin Basel, Basel 1976 Schneiderand Hoecker: LambertSchneider and L. Hoecker, Die Akropolis von Achen: Antikes Heiligtum und modemes Reiseziel, Cologne 1990 Schwenn: F. Schwenn in REV (1934) 362·369 s.v. Telephos

24

Sechan,Etudes: L. Sechan,Etudessur la tragediegrecquedans ses rapportsavec la ceramique,Paris1926 Shapiro: H.A. Shapiro, "Courtshipscenes in Attic vase painting", AmericanJournalof Archaeology85 (1981) 133-143 Slater: P.E. Slater, TheGloryof Hera: GreekMythology and the Greek Family,Boston 1968

Spengel,RhetoresGraeci:L. Spengel (ed.), Rhetores graeci,Leipzig 1853 (repr. 1966) Stlihelln,Kassandros: E. SUlhelin,entry "Kassandros2", RE 10 (1919) 2293-2313 Tam, Alexander. W.W. Tam, Alexanderthe Great,2 Vols, Cambridge 1948 Trendall (1972): A.O. Trendall, "The MourningNiobe", Revue Archeologi(J_ue 1972, 309-316 Trendall, LCS: A.D. Trendall, The red-figuredVasesof Lucania, Campaniaand Sicily,Oxford 1967 Trendall-Webster: A.D. Trendall and T.B.L. Webster, Illustrationsof GreekDrama,London 1971

Turcan,Sarcophages:Robert Turcan,Les Sarcophagesromainsa representationsDionysiaques,Paris 1966 Vries (1992): Keith de Vries, "The 'Eponymousheroes' on the Parthenon Frieze", (abstract)AmericanJournalof Archaeology96, 336 Vries (forthcoming),idem,Homosexuality andAthenianDemocracy, Oxford University Press Webster, Euripides: T.B.L.Webster, The Tragediesof Euripides,London 1967

25

Webster, MTSP : T.B.L. Webster, Monume111s illustratingTragedyand Satyrplay, 2nd ed ., BICS, Suppl. 20, London 1967

Constraintsof Desire: Tne Anthropologyof Sex and Genderin ancielllGreece,NewYork 1990

Winlcler: J.I. Winlcler, The

MYSTERYELEMENTSIN MENANDER'SDYSCOLUS In the Prologue of Menander' s Dyscolus, Pan, whose scheming is the moving force behind the plot of the comedy , introduces the main hero Cnemo as a degenerated human being (v 61twµnrov owoµa1 (554-55).46 Concerning the circumstancesunder which Chrysis takes in the baby there are minor differences of opinion. As most scholars assume, Moschion,in line 56, relaresthat the het.aerahad by coincidencegiven birth at about the same time as Plangon.47 There is no reason to supp0se with Casson (op. cir. supra n. 20, 47-8) that Demeas had already known of her pregnancy before leaving on his long journey: his reaction upon this (135 ff.) indicates total surprise. What had happenedto the hetaera's own baby? It is clear from several passages (supra n. 15) that Chrysis, being only the nau10\ Kq>aVUOOOl, 10 6e +otVtKOUVKai llj)m

58

Some renderings of 't6voc and&pµO'f1\: Sellers, ad loc.: 1:6voc no translation; &pµO'f1\,"harmonization" ; Lippold, RE s. v. "Malerei," 14,894, does not connect the tcrms with skiagraphia but with the superposition of colors: "Die Farben werden cntweder scbon vor dem Malen miteinat1der vermiscbt oder Obcreioander gemalt. an den Oberglingen werden sie mitcinander verschmolzen (apµoy,\ ... zwiscben Licht und Schott.en is dcr Obergang (,:6vo,: . . . ). • Blllmner (n . 9 supra) 428: "Wvoc , Vermittlung von Llcbt und Schatt.co .. . opµo-y,\ ... das AbtOnen dcr cinzelnen Farben durcbcinander, das Vcrscbmelzen der nebeneinanderstchenden Farbcn.• Pfuhl, Mal~rti und Zeichnung U, 620: • . .. die LokaJfarbe, Tonos, war so abgetOnl,dass ein Obeneugender Obergang zum Schatt.en, Hannoge, entstand. • Pollitt, Terminology 287 : ". .. ,:6vo,: and dpµo-y,\, respectively the "contras t" and "blending" of light andshade .. ." Toe latter translations approximate our suggestions, except that Pollitt docs not think in terms of optical fusion. As Pollitt notes, the meaning of i:6voc as a quality of light in Plut . Mor . 563f is not clear.

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tion. I suspect that apµo')'l\ , literally "joining" or "fitting together," in the technical jargon of the skiagraphia literature means the blending of colors through optical fusion. The tenn, however, does not recur in any comparable context and it is impossible to be sure.s9 SKIAGRAPHIAIN CLASSICALGREEKAUTIIORS

The words skiagraphia and its cognates onayppa µhi ,ea). oxflµa iro1CAfl) 1t£P1. tµa\}'tov onayp~i.av O.P£Tijc; 1tEPl'YPrutU:OV . •. I should paint around myself in a circle a fa~e and form, a skiagraphiaof virtue.. . As Steven rightly points out,67 the words 1tpo&upa 11:a1oxfiµa suggest

scene-painting,but one can hardly "wrap a stage prop around oneself in a circle." The metaphoricalmeaningof skiagraphiahere, at any rate, is clear: it stands for "illusion"or "deceiL" Leges 663c has always been problematicand it is usually incomprehensible in translation.68 However, from the perspectiveof the notions of "definition through contrast of opposites" and "the true view from a distance only," the problemsdisappear. As I providea detailedjustificationof 67 N. 42 supra. 149. 68

Commentazyand literatureon this passagein Saunders,BICS28 (1972) ad loc.

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my interpretation of this complex passage in my article "Plato on Painting" (sec initial note), I must here restrict myself to giving only my translation: As things viewed from afar cause dizziness, as it were, to all but especially to children, the lawgiver will create an illusion to the opposite effect, taking away their confusion; he will somehow, by references to custom and by eulogies and speeches, convince them that justice and injustice are relative values (oono:ypo:$nµevo:), that injustice is defined through its contrast to justice and that, from the viewpoint of him who is unjust and evil himself, injustice appears pleasurable and justice most unpleasurable, whereas from the viewpoint of the just all is altogether the opposite in both respects. The passage, in other words, advocates another "noble lie" for those incapable of coping with the "true view from a distance." This concludes the conspectus of skiagraphia references in Classical authors; I believe they show that the breaking up of surfaces into patches of contrasting colors (echoed by Pliny's dijferentiacolorumaltema vicesese excitante)was its key feature (although there is not much scope for speculation as to the size and shape of the divisions). The expression used for the juxtaposition of contrasting colors in skiagraphia in Republic586b is TI7tCXp'w).nw 0eav;,the same idiom used by Aristotle in his passage on color perception in De sensu (440b). In several other texts preserving vestiges of ancient color theory similar wording is used; it is especially this correspondence in terminology which has suggested to me that the skiagraphia style or at least its technical literature was tied to scientific theory. SKIAGRAPHIA AND GREEK COLOR llfEORY

There is a widespread opinion among modem scholars that the Greek sense of color differentiation was underdeveloped and that they had a primitive predilection for a limited range of garish colors, a shortcoming sometimes condoned as the natural result of the bright atmospheric condi-

138

American Journalof Archaeology 1975

lions in the Mediterranean. Maurice Plamauer, who made a very useful 69 survey of Greek color terms, came to the conclusion that The Greeks' colour terminology is frankly defective as compared with that of the modems ... they felt little interestin the qualitativedifferencesof decomposed and partially absorbed light. (162) He even want as far as lO suggest that the Greeks may have been color blind. 70 H. Osbome holds that The Greeks were not given lO careful discriminations of colour hue and there is little evidence of attention to hues except possibly within the violetpurple band. The Greek colour-vocabulary was jejune . .. (283) W. Riezler was offended by the contrast of the serene, other-wordly figures on Attic funeral lekythoi, and the gaudy colors in which they are painted. He speaks of "vestiges of barbarism in the midst of a world of the 71 most spiritual culture." He notes that only reds are used in a rich and delicate variety and concludes that

In the sensitivity towards reds the Greek feeling for color differentiationfirst developed. (ibid. 79) Most of us recoil at the thought of statuary and architecturalmembers being trimmed in bright reds and blues, and the ancients' reverence for purple 69

"Greek Colour-Perception," CQ IS (1921) 1S3-62.

70

·colour Conceplsof the Ancient Greeks,• BritishJournal of Aesthetics 8 (1968) 169-83. 71

Weissg rilndig e anische ukyrhen, Munich 1914, 78.

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strikes us as naive.n It would appear, in fact, that Greek tastes with regard to color were somewhat simpler than those of later ages. As a result a number of scholars have accepted as authentic a rather unlikely tradition recorded by the ancients,73 to the effect that a class of painters of the fifth and fourth centuries B.C. restricted themselves to the use of four colors, white, black. red, and yellow.74 This is a bizarre assumption, as the scheme contains only what we call the "warm" colors of the red to yellow bands and totally excludesthe "cool" colors in the green to violetranges. In mosaics of the post-Classical ages a four-color tradition (often flourishing alongsidepolychrome techniques)is unmistakable.75 In painting, however, no monuments uncovered so far bear out the supposition that such a tradition was ever upheld. Rather it appears that the legend of four-color painting originated as misinterpreted phllosophical doctrine. The notion of four primary colors, paralleling the four elements, is traceable to Empedocles(Aetius in Diets, VSI, 307,10-11) and, perhaps beyond him to the Pythagoreans (Diets,Doxographi313,21-25). That Empedocles lhought that all natural colors can be derived from white, black, red, and yellow by mixture is not likely. At least, in fragment 23, where he refers to painters who, after careful mixing of their paints, can simulate the ap72

Aescb A. 958-60; Plato, Phd. 110c; Vitruv. 7,13.

73

The two key passages on four-color painting, Cicero, Brut. 70 and Pliny, N.H., 35 ,50 conflict sharply. Cicero speaks only of fiftb -cenlury painters (Zeuxis, Polygnotus, Timantbes, "and others"), while witb tbe fourtb--£e1e r is a measure of lbe oblivion into which Greek color theory had sunk.

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for the Hellenic age, in fact, points to a wider interest in colors, of which the search for the primaries was only one aspect If my interpretation of the classical skiagraphia references is correct, the technique featured the juxtapo sition of contrasting colors. How much theory went into its development and what could have been Zeuxis's ratio 81 of the device? In addition to Aristotle's De sensu440b already cited, there are enough references to the interaction of contiguous colors to warrant the assumption that some theory concerning the simultaneous contrast of hues was fonnulated and that the principle of optical fusion was at least 82 partially understood. We have already noted that Aristotle, in his discussion of the rainbow in the Meteorologica3,2-4, is more knowledgeable on lhe additive behavior of colors than on the subtractive and that he is not aware of the difference between the two systems. In a difficult passage in the same essay Aristotle tries to account for the presence of yellow (or orange -- !;av06v) in the simple rainbow between the bands of red and green. He (correctly) considers red and green primary colors of the spectrum . The orange and yellow bands in between he lumps together as !;av06v(372a 11). He explains this band as the result of the juxtaposition of red and green:

1:0&: !;av0ov cpalV£1:CtL Ola 1:01tap' wJ.11A.C1 $atv£08a1, 1:0 -yo:p