The Myth of Marsyas in the Roman Visual Arts: An Iconographic Study 9780860544470, 9781407346205

Table of contents :
Cover Page
Copyright Page
Table of Contents
PREFACE
INTRODUCTION
Chapter 1: LITERATURE, TRADITION AND THE EVOLUTION OF MARSYAS-ICONOGRAPHY
Chapter 2: ATHENA AND MARSYAS
Chapter 3: THE CONTEST WITH APOLLO
Chapter 4: MARSYAS BOUND
Chapter 5: MARSYAS HANGING
Chapter 6: MARSYAS AND OLYMPOS
Chapter 7: CYCLES AND CONTEXT
LIST OF ABBREVIATIONS
NOTES
PART TWO: (Catalogue, Appendices and Illustrations)
The Catalogue: Guide to Use
Athena
Athena and Marsyas: Coin
Transitional: Marsyas pleading and led to execution: Mosaics
Marsyas Hanging: Ceramic Relief
Marsyas and Olympos: Paintings.
Marsyas as a decorative Adjunct to the Apollo Citharoedus
Lost: Details unknown
Addenda: The Contest - Sculptural Relief
Cyclic Works: Paintings
APPENDIX A: Greek and Pre-Roman Italian Marsyas works
The Contest
The Contest: Marsyas Defeated
Marsyas Bound: i. Appealing for Mercy
Marsyas Bound ii
Marsyas Hanging
Cyclic Works.
Marsyas: The Dramatic Context.
Two Figures from a presumed Hellenistic Statue-Group.
APPENDIX B: The Marsyas Statue in the Roman Forum.
APPENDIX C: Dubious Interpretations, Fakes, etc.
LIST OF ILLUSTRATIONS
ILLUSTRATIONS

Citation preview

The Myth of Marsyas in the Roman Visual Arts

An Iconographic Study

Piers B. Rawson

BAR International Series 347 1987

B.A.R. 122 Banbury Rd, Oxford, OX2 7BP, UK

GENERAL EDITORS A.R. Hands, B.Sc., M.A., D.Phil. D.R. Walker, M.A.

B.A.R. -S347, 1987: 'The Myth of Marsyas in the Roman Visual Arts'

© Piers

B. Rawson, 1987

The author’s moral rights under the 1988 UK Copyright, Designs and Patents Act are hereby expressly asserted.

All rights reserved. No part of this work may be copied, reproduced, stored, sold, distributed, scanned, saved in any form of digital format or transmitted in any form digitally, without the written permission of the Publisher. ISBN 9780860544470 paperback ISBN 9781407346205 e-book DOI https://doi.org/10.30861/9780860544470 A catalogue record for this book is available from the British Library This book is available at www.barpublishing.com

C ONTENTS P age P ART O NE:

T EXT

P REFACE I NTRODUCTION

1

C HAPTERS 1 :

L iterature, T radition a nd t he E volution o f M arsyas Iconography

3

2 :

A thena a nd M arsyas

1 7

3 :

T he C ontest w ith A pollo

2 7

4 :

M arsyas B ound

4 1

5 :

M arsyas H anging

5 3

6 :

M arsyas a nd O lympos

6 7

7 :

C ycles a nd C ontext

7 5

A BBREVIATIONS

8 6

N OTES

8 9

P ART T WO :

C ATALOGUE, A PPENDICES A ND I LLUSTRATIONS

C ATALOGUE G uide t o U se

12

A thena a nd M arsyas

13

T he C ontest

16

T ransitional

1 31

M arsyas B ound

1 33

M arsyas H anging

1 40

M arsyas a nd O lympos

1 54

M arsyas a s aD ecorative A djunct t o A pollo C itharoedus

1 60

L ost - D etails U nknown

1 62

A ddenda

1 62

C yclic W orks

1 63

A PPENDIX A :

G REEK A ND P RE-ROMAN I TALIAN M ARSYAS W ORKS

M arsyas a nd A thena

1 89

T he C ontest

1 93

T he C ontest: M arsyas D efeated

1 98

M arsyas B ound i :

2 05

A ppealing f or M ercy

M arsyas B ound i i

2 06

M arsyas H anging

2 09

M arsyas a nd O lympos

2 13

C yclic W orks

2 14

S olitary M arsyas

2 17

M arsyas:

2 18

t he D ramatic C ontext

T wo F igures f rom a P resumed H ellenistic S tatue-group

2 21

V aria

2 23

A PPENDIX B :

M ARSYAS I N T HE R OMAN F ORUM

2 24

A PPENDIX C :

D UBIOUS I NTERPRETATIONS, F AKES, E TC.

2 25

I LUSTRATIONS L IST O F I llUSTRATIONS I LLUSTRATIONS

2 32

P REFACE T he m ain t ext b egins w ith a n o utline o f t he c ultural b ackground t o t he e arly e volution a nd s ubsequent d evelopment o f t he v isual e xpression o f t he myth . T here f ollows a d etailed e xamination o f t he R oman i conography , p roviding a n a nalytical f ramework f or t he i dentification a nd c lassification o f M arsyas c ompositions ,

a nd i n m any c ases i solating p rogressive s tages i n

t he f ormation o f t he i magery . T here i s a d efinitive c atalogue o f r epresentations o f t he m yth o f M arsyas i n R oman a rt , i ntroducing a n umber o f w orks n ot p reviously i dentified . T his i s s upplemented b y a ppendices c overing d ubious i nterpretations a nd f akes , a nd t he ' Forum ' t ype M arsyas . T he i llustrations i nclude o riginal p hotographs a nd d rawings . A n i mportant b ody o f p re-Roman w orks , p resented i n a s eparate a ppendix t o a mplify t he r eference i n t he t ext, a llows a c omparative e valuation o f t he R oman

i mages ,

' originality ' .

w ith

s ignificant

i mplications

f or

t he a ssessment

o f R oman

T he s tudy d iscloses s ome o f t he w ays i n w hich i conographic

t raditions w ere v aried a nd d eveloped i n t he R oman p eriod ,

a nd i ncidentally

c asts l ight u pon t he f orm o f i mportant p rototypal c ompositions i conographic p atterns, s ome u ndoubtedly s ubstantially R oman c reations.

a nd

T he m ajor p ortion o f t his w ork w as o riginally p resented a s at hesis f or t he d egree o f P h .D . i n t he A rts F aculty o f t he U niversity o f M anchester . I w ould l ike t o t ake t his o pportunity t o r ecord m y g ratitude t o m y S upervisor a t M anchester , D r . R oger L ing , w ho i nitially i nspired t his s tudy ; f or h is p atient s upport t hrough i ts l engthy g estation , I a m t ruly i ndebted . M y t hanks a re a lso d ue t o t hose a cademics w ho h ave g iven f reely b oth t ime a nd a dvice i n r esponding t o m y e nquiries , w hose e xpressions o f g ood w ill I w ould l ike h ere t o r eturn , a nd t o D r . A .R . H ands o f B .A .R . f or h is g uidance i n t he p reparation o f t he t ext f or p ublication . I am h appy t o a cknowledge f inancial a ssistance r eceived d uring t he c ompilation o f t his r esearch f rom t he U niversity o f M anchester, t he B ritish S chool a t R ome a nd t he D .E .S . F inally, my p arents B arbara a nd P hilip R awson , a nd my w ife K aty made e verything p ossible.

I NTRODUCTION T he P hrygian f lute-player M arsyas w as c haracterised i n G reek and Roman a rt a s a s atyr o r s ilenos ; t hat i s, h is m ain p hysical a ttributes a re the e ars a nd t ail o f

ah orse g rafted o nto a h uman b ody ; u sually , b ut

by no

m eans a lways , h e h as a b eard . W hen t his i s b orne i n m ind , t here s hould be l ittle d ifficulty i n d istinguishing h im f rom t he A rcadian m usician P an , who i s g enerally r epresented w ith g oat 's l egs a nd o ther h ircine f eatures; f rom t ime t o t ime , b oth c lassical a nd m odern a uthors h ave m anaged t o c onfuse t he t wo.' A c onsiderable n umber o f R oman w orks d epicting M arsyas i nclude v ery d istinictive f igure-types ( rather t han m ore g eneralised s chemata) , g roupings o r a rrangements o f f igures , o r e ven w hole c ompositional s chemes , which d epend i n s ome d egree o n p re-Roman d esigns s till r ecognisable i n G reek a nd C entral I talian v ersions , v ase-paintings e specially . H ow t hese m otifs w ere e volved a nd t hen a pplied o r r e-interpreted i n R oman a rt c omes w ithin t he s cope o f t he p resent s tudy . T his a nalysis s hould b e d ifferentiated f rom t he m ore s peculative q uest f or p utative G reek ' old m asters ' a s a n e nd i n i tself , a n a pproach w hich c an u nderrate t he u ndoubted c reative i nput o f R oman a rtists a nd c raftsmen . S ometimes

t he

s urvival

i n R oman a rt

o f a motif

o f

t his k ind m ay

r epresent n o m ore t han t he f aint a fter-image o f a n e arlier v isual t radition , p erhaps r ecalled i n t he w ork o f a n i mmigrant G reek a rtist , o r f reely a dapted f rom a n i mported c ollector 's i tem .2

Y et

i n a f ew p articular i nstances w e

must c onclude t hat r eference w as made t o a n i nfluential p rototype c omposition . T his m ay h ave b een a r enowned w ork o f a rt w hich h ad i nspired G reek d ecorative a rtists, a nd t o w hich R oman a rtists s ubsequently h ad a ccess, whether a s a n o riginal, o r t hrough d irect c opies . B ut s uch a d esign m ay a lternatively h ave b een p reserved , i n w hole o r i n p art , a s a s econdary p attern d erived f rom t he o riginal s ource , a nd t ransmitted v ia o ne o f a n umber o f p ossible r outes . T he p otential c andidates f or t he r ole o f m odels o r i ntermedia f or R oman w orks a re v aried , o ften d isputed , a nd i n a ll b ut a h andful o f c ases r emain i n t he r ealm o f t heory , h owever w ell-founded ; t hey i nclude t extual i llustrations , p attern b ooks, m inature p ortable p anelp aintings , d ecorative m etal-work , a nd p laster-casts .3 Q uite c onceivably , m ost o f t hese p layed a p art a t s ome t ime . S ince t he t ransference o f n ew d esigns s ynthesised o r o riginated b y R oman a rtists m ust h ave b een u ndertaken t hrough s imilar c hannels , t he f act o f R oman a rtists ' a ccess t o a w ider o r c ommon r epertoire f or a a g iven d esign d oes n ot a llow , a s c oncomitant , t h% a utomatic a ssumption o f ah ypothetical c lassical o r H ellenistic p rototype . W here , h owever , s uch a s upposition i s j ustified , i ts m ain f unction h ere w ill b e i n h elping t o d efine t he c ourse o f t he h istorical d evelopment o f t he R oman i conography . E ven w hen r eference t o a p re-existing p attern i s a ssumed i n a w ork o f a rt , t his n eed n ot a lways i mply t he w ork t o b e a l ame i mitation o f a l ost a nd s omehow m ore v aluable p iece . T he r e-use o f ar eceived d esign c omponent o r p ictorial s cheme c annot o f i tself c onstitute a l ack o f o riginality - a nd i s t herefore n ot a q ualitative c riterion o f a ny k ind - i n ac ultural m ilieu w ith n o g overning c oncept o f p rogress s olely t hrough d evelopment a way f rom , o r a bsolute r ejection o f , t raditional v alid e xpression o f c ultural l iteracy .

1

i deals ,

a nd

w here

q uotation w as

a

N aturally, c ontemporary t aste, d ominated b y p olitical a s w ell a s personal a nd p urely a esthetic c ritical s tandards, must h ave d ictated precisely what a spect o f t he wider a rtistic h eritage was p erceived o r portrayed a s t he p aradigm . T hus i t s hould b e u nderlined t hat t he s tructural e lement o f d esign i s o nly o ne f actor o ut o f a c omplex r ange o f i nfluences r eflected i n t he f inal f orm o f t he R oman Marsyas works . C ertainly t hese w orks a re o ften v aluable d ocuments, i n w hat t hey c an r eveal o f a n e arlier v ision w hich m ay o therwise h ave b een l ost, a nd a lso o f t he p rocesses

i nvolved i n t heir e volution .

B ut

t hey s tand i n t heir o wn r ight

a s am anifestation o f ac reative i mpulse o n o ne h and , a nd o n t he o ther a s a n e xpression o f w hat w as c onsidered s ignificant i n c ontent,

s tyle a nd f ormal

c onstruction a t t he t ime a nd i n t he c ontext o f t heir c reation .

2

C hapter 1 L ITERATURE, T RADITION A ND T HE E VOLUTION O F M ARSYAS-ICONOGRAPHY T he m ythological t radition w hich f eatured M arsyas, A thena a nd A pollo a s p rotagonists a nd c oncerned t he d iscovery , ( auloi) w as q uite e xtensive , f ragmentary .' d ramatists ,

r ejection a nd d efeat o f t he f lutes

a lthough m uch o f t he e xtant e vidence f or i t i s

I t w as p reserved o r v aried ,

h istorians a nd p hilosophers,

r eported a nd e xploited b y p oets ,

p articularly t hose o f t he 5 th a nd

4 th c enturies B .C . T his p rocess w as c ertainly r eflected i n c ontemporary G reek a rt . W hen R oman w riters a nd a rtists r e-worked t he t heme , t hey d id s o w ith a v oracious a ppreciation o f t he a ccumulated t radition - v isual a nd l iterary - t hey h ad i nherited , b ut w ith a r eadiness t o a dapt a nd d evelop i t t o e xpress t he s pirit ,

t astes a nd p reoccupations o f t heir o wn t ime .

T he u ltimate p rototype f or a ny m ythological i conography l ies i n t he m yth i tself ,

a lthough n ot n ecessarily a s e xpressed i n l iterature .

E ven s o ,

t he

e arliest s urviving l iterary p resentations o f t he M arsyas-Athena e pisode o f t he s tory c oincide w ith i ts j ust b efore,

f irst k nown a ppearance i n a rt a round ,

t he mid 5 th c entury B .C .

p erhaps

Y et t he c onnection with f lute-

p laying o f A thena , a nd A pollo t oo , c an b e t raced b ack s till f urther . S o P lutarch ( De M us . 135 F ) c ites A lkman , w ho w as a c horal l yric p oet o f t he 7 th c entury B .C . , A nd

C orinna ,

c entury B .C .

a s h aving r ecorded t hat

t he

T heban

s eems

p oetess

a ctive

p layed

i n t he m id

t o

t he a uloi . l ater

6 th

t o h ave d eveloped t he s ame s trand w hen s he m ade A thena

t each t he f lutes t o A pollo ( Plutarch, P ythian O de , A thena w ith

A pollo h imself

p robably

D e Mus.

1 136 B ) .

I n h is twelth

c omposed c a . 4 90 B .C . , P indar e xtended t his i dea , c rediting t he i nvention o f t he f lutes, o r a p articular mode o f f lute-

p laying: .

f resh f rom

t he

t riumph o 'er a ll H ellas,

W on b y t he a rt t hat P allas A thena f ashioned When s he w ove i nto a v aried s train ( on t he f lute) t he f ierce G orgon 's d eathful d irge;... T he Maiden-Goddess f ashioned t he many-voiced melody o f t he f lutes, I n

o rder t hat w ith i nstruments o f l oud-resounding l amentation ...

music

s he m ight

r ender

t he

S he n amed i t t he m any-headed s train, T he n oble s ummoner t o f olk a rousing c ontests, I ssuing f rom t he t hin l ips o f b ronze a nd t he r eeds w ithal, F aithful w itnesses o f t he d ancers' s teps ..

T he a bsence o f M arsyas f rom t hese r eferences t o A pollo ,

A thena a nd t he

f lutes, w hile n ot c onslusive , s uggests t hat M arsyas m ay h ave b een i ntroduced i nto a l ater v ersion a s ac atalyst t o j ustify A thena 's r ejection o f t he f lutes. T his i ntroduction c ould h ave b een i n r esponse t o a n a ctual r ejection o r r e-evaluation o f t he P hrygian d ouble f lutes, a r ejection w hich t he l iterary e vidence s eems t o b ear o ut . T he f lautist Marsyas was o ccasionally

g iven

c redit

P lato 's M inos ( 318 B ) . r ecounts , h e h ad b ecome

f or

f ounding

t he

l aws

o f

f lute-playing ,

a s

i n

H e o riginated i n t he E ast where, s o H erodotus t he c entre o f a m inor l ocal c ult a t K elainai i n

3

P hrygia .2 H is b estial n ature a nd h is c lose a ssociation w ith b oth t he f lutes a nd P hrygia m ake h im a n a ppropriate i f i ronic c hoice f or a n a gency b y w hich t o d iscredit o r d enigrate f lute-playing. T he d isfavour o f t he f lutes i s f oreshadowed i n a b itter h ypochreme b y P ratinas o f P hlius w hich i s p reserved ( xiv ,

6 17

B f f .) .

P ratinas,

i n t he D eipnosophistae o f A thenaeus

a c ontemporary o f A eschylus,

w as

a ngered

b y

t he w ay t he c horus h ad b ecome s ubservient t o t he f lute-players i n d efiance o f t radition ; i n a s cathing a ttack h e c alled f or a r einstatement o f t he D orian d ance-song : W hat u proar i s t his?

w hat d ances a re t hese?

W hat o utrage h ath

a ssailed t he a ltar o f D ionysos with i ts l oud c latter? . ' Tis t he s ong t hat i s q ueen , e stablished b y t he P ierian M use ; b ut t he f lute m ust b e s econd i n t he d ance . B eat b ack h im w ho h as t he b reath o f a m ottled t oad , b urn u p i n f lames t hat s pit - w asting , b abbling r aucous r eed , s poiling m elody a nd r hythm i n i ts m arch , t hat h ireling w hose b ody i s f ashioned b y a n a uger -

T he d rama ,

o r l iterature ,

w hich a ppears

t o h ave m otivated s ome o f t he

e arliest v isual r epresentations o f t he myth w as p erhaps a s imilar r eaction t o t he r ecently e nded ( 480 B .C .) P ersian w ars t o t hat w hich l ed A eschylus t o w rite t he P ersai ,

f irst p roduces c a .

4 72 B .C .

H ere t he h ubris o f E astern

b arbarism w as a p rincipal t heme : ( disaster awaited t he P ersians a t P lataea) a s r ecompense f or t heir a rrogant a nd g odless t houghts . I n c oming t o t he l and o f H ellas t hey d id n ot s hrink f rom b urning t emples o r p illaging i mages o f t he g ods. ( Lines 8 07-810)

A thenaeus t ells t hat M elanippides o f M elos , B .C . ,

' ridiculed

f lute-music

d elightfully

i n

E ) .

T he s ingle s urviving f ragment o f t his w ork ,

w ho w as a ctive a round 4 80

h is

M arsyas '

( Delp .

x iv ,

6 16

w hich w as c omposed i n t he

f orm o f ad ithyramb , d escribes A thena t hrowing a way t he f lutes ,

o ffended b y

t he e ffect p laying t hem p roduced o n h er a ppearance : A thena h urled t he i nstruments f rom h er s acred h and a nd s aid ' To p erdition w ith y ou ,

s hameful t hings ,

a n o utrage t o m y b ody .

I

y ield m e n ot t o s uch b aseness.'

I t w as M elanippides w ho w as r enowned f or h aving i ntroduced l yric s olos i nto t he d ithyramb , a f orm c omposed i n h onour o f B acchus a nd u sually a ccompanied b y t he f lutes .4 T his would c ertainly b e a n a pt i nnovation f or a p oet w orking i n ac limate t o s ome e xtent h ostile t o f lute-playing , e ven i f s ome , l ike T elestes o f S elinus ( fl . c a . 4 00 B .C .), were f ighting a r earguard a ction t o b ring f lute-playing b ack i nto f avour : ( Telestes)

s triking

A rgo - h e

i s

b elieve

b ack

s peaking

i n m y h eart

a gainst o f

t hat

M elanippides

A thena: d ivine

' As

A thena ,

t o

t he

h as

s aid

f lute

i n h is

I c annot

c lever g oddess,

f ound

t hat c lever i nstrument i n t he m ountain t hickets , a nd f rightened a t t he u gliness w hich o ffends t he e ye , c ast i t a gain f rom h er h ands ,

s o t hat i t b ecame t he g lory o f M arsyas,

4

t he h and-clapping

b east w hose d am w as a n ymph .

F or h ow c ould s harp y earning f or

l ovely b eauty h ave t roubled h er .

N o ,

i dle

a nd h ostile

t o

t he

d ance i s t his s tory, t old b y f oolish b ards, t hat h as s ped t o H ellas - a j ealous r eproach o f ac lever a rt a mong m en ' . N ext h e p raises f lute-playing i n t hese w ords : ' Which t he u plifted b reath o f t he a ugust g oddess ,

j oined w ith t he s wiftness o f h er f lashing

f ingers t hat q uivered l ike w ings, m ost f aithful h andmaid ' .

g ave o ver t o B romius t o b e h is

( Athen . D eip. x iv , 6 16 B f f.)

A m ore

i ntact v ersion o f

t his c rucial e pisode

i n t he m yth

s urvives

i n a n

a nonymous d ramatic f ragment s ometimes a ttributed t o E uripides , w hich m ay b e f rom a s atyr-play : I n f act,

t hose w ho d elight i n p leasant f ables t ell u s t hat w hen

A thena p layed t he f lutes, s he w as M arsyas a nd w ould g ive n o h eed:

r ebuked

b y

t he

p apposilenos

' That l ook b ecomes y ou n ot; l ay b y y our p ipes A nd t ake u p y our a rms a nd p ut y our c heeks t o r ights;' b ut w hen s he s aw h er f ace i n a r iver , away h er p ipes . u nsightliness.

s he w as v exed a nd

t hrew

Y et a rt makes melody s ome c onsolation f or A nd Marsyas, i t s eems, b y a mouth-piece a nd

c heek-bands r epressed t he v iolence o f h is b reath a nd t ricked u p a nd c oncealed t he d istortion o f h is f ace : ' He f itted t he f ringe t o h is t emples w ith g leaming g old A nd h is g reedy m outh h e f itted w ith t hongs b ound b ehind.' ( Plutarch , D e c ohib. i ra 4 56 B )

A p assing r eference t o M arsyas m ade b y S trabo g ives s ome c onfirmation t hat E uripides d id f eature t he s atyr i n o ne o f h is w orks: 5

. - N either i s E uripides c orrect i n s aying t hat Marsyas ' dwells i n w idely f amed K elainai, i n t he f arthermost r egion o f I da.'

G iven t he e vidence f or t he l iterary-dramatic t reatment o f t he

5 th

c entury

B .C .

i t

i s

q uite

c onceivable

t hat

t he

t he m yth

i n

s culpture-group

o f

Marsyas a nd A thena b y Myron ( Al, c a . mid 5 th c entury B .C .), which i s i dentified w ith t he g roup s een b y P ausanias o n t he A thenian A cropolis, w as a d edication f ollowing a l iterary o r d ramatic v ictory .

T he g roup d epicted

A thena w arning a s tartled M arsyas, o r p erhaps c asting d own t he f lutes b efore h im a s i s s hown o n t he A ttic r ed-figure o inochoe A S ( end o f t he 5 th c entury B .C .) . T here e xists a p ossible p arallel f or s uch a d edication i n a nother s tatue d escribed b y P ausanias o n t he A cropolis, t he P rocne ( wife o f T ereus) a nd I tys o f A lkmenes . B oth S ophocles a nd P hilocles c omposed t ragedies n amed T ereus , t o w hich p roduction d ates o f 4 27 a nd 4 26 B .C . a re t he s tatue c ould w ell h ave b een e rected t o c ommemorate e ither .6

a scribed ;

W hether o r n ot t he M yronian g roup w as a l iterary o r d ramatic d edication ,

5

i t r emains a n e xcellant v isual m etaphor f or t he c urrent d isfavour o f f lutep laying a nd i ts r ejection i n s ome i ntellectual c ircles . P lato ( CA . 4 27-348 B .C .) u nderscored t his t endency w hen h e e xcluded f lute-makers a nd p layers f rom h is i deal c ity ( Repub . I II , 3 99 D -E) , b ut i t r eceived i ts m ost f orceful e xpression i n t he P olitics o f A ristotle ( Ca . 3 84-322 B .C .) : ( On m usic i n e ducation ) A f urther a rgument a gainst t he f lute i s t hat i t d oes n ot e xpress a s tate o f c haracter , b ut r ather a m ood o f e xcitement; a nd i t s hould t herefore b e u sed o n t hose o ccasions w hen t he e ffect t o b e p roduced o n t he a udience i s t he r elease o f e motions ( katharsis) , a nd n ot i nstruction . A nother r eason a gainst t he u se o f t he f lute i n e ducation i s t he f act t hat f lute-playing p revents t he p layer f rom u sing h is v oice - T here i s w isdom i n t he m yth o f t he a ncients a bout t he f lute . A thene , i t t ells u s , i nvented t he f lute a nd t hen t hrew i t a way . T here i s s ome t ruth t oo i n t he r est o f t he s tory - t hat s he t hrew i t a way i n d isgust a t t he u gly l ook o f h er f ace w hen s he w as p laying u pon i t . B ut A thene i s t he g oddess t o w hom w e a scribe t he g ift o f k nowledge a nd s kill i n t he a rts ; a nd i t s eems m ore l ikely t hat s he t hrew i t a way b ecause t he s tudy o f f lute-playing h as n othing t o d o w ith t he m ind . ( Pol. V III, v i 1 340 B , 1 341 B )

N o e xplicit r eference t o t he m usical c ontest b etween A pollo a nd M arsyas s urvives f rom t he l iterature o f t he 5 th c entury B .C ., b ut o ur e arliest v isual r epresentations o f t his e pisode a re s een i n r ed-figure v ases o f t he K leophon P ainter ( A ll a nd A l2 , c a . 4 30-425 B .C .) a nd M odica P ainter ( A30 , l ast q uarter o f t he 5 th c entury B .C . ) . T he n umber o f A ttic v ase-paintings a lone f rom t he f ew d ecades r ound t he t urn o f t he c entury - t here a re t wenty -t hat d epict t he c ontest i n p rogress s uggests t hat t he c ontest may n onetheless h ave f eatured p rominently i n d rama o r l iterature o f t he p eriod , a nd t hat t his w as r egarded , b y v ase-painters a t l east , a s t he p rincipal e pisode . T he r ange o f v ariations i n d esign w ould s eem t o p reclude a s ingle m ajor f ree p ainting , f or e xample , b eing t aken a s a c ommon m odel f or a ll , a lthough t he r ecurrence o f c ertain f igure t ypes a nd g roupings o n an umber o f v ases l eaves t he i mpression t hat t he e pisode m ay h ave b een r epresented i n o ther i rdia , o r a t l east h ave b een a vailable a s a w orkshop p attern o f s ome k ind . W ith o ne p ossible e xception , i t i s u nlikely t hat a ny o f t hese p articular v ase-paintings c an b e t aken t o d epict i n a ny d egree a d ramatic p erformance o f t he m usical c ontest ; t he p articipants i n t he s tory a s i llustrated a ppear a s t he mythological c haracters t hey r epresent, r ather t han a s ' actors ' . T his

i s e ven t he c ase o n a b ell c rater o f t he K admos P ainter ( A 18 ,

e nd o f

t he 5 th c entury B .C .) which may h ave b een c ommissioned t o mark t he s uccessful s taging o f a p lay o n t he t heme ; t he n ames o f t hree a ctors a re i nscribed a longside t he c onventional m ythological f igures o f A pollo , M arsyas a nd A rtemis .8 I t i s o nly o n a nother b ell c rater o f t he K admos P ainter ( A84) t hat a t heatrically c ostumed f igure a ppears: M arsyas, h abitually c haracterised a s a n aked s atyr, i s w earing a f ull-length c ostume w ith l eggings w hich i s a pparently n ot a s atyr-suit . I t i s q uestionable w hether a ny i llustration o f ad ramatic p erformance o f t he s tory c ould b e l inked w ith M elanippides ' p iece s ince d ithyramb w as e ssentially a n arrative c horal m ode , s o p robably s ome o ther v ersion i s r eferred t o h ere . O ne f urther A ttic v ase s eems t o d emonstrate l iterary o r d ramatic l inks ; t his i s a n a mphora o f t he M eidias P ainter ( A83, t owards t he e nd o f t he 5 th c entury B .C .) .

6

I nscriptions

i dentify

Marsyas,

O lympos,

T yrba a nd

O rapes,

t wo minor

c haracters u nknown t o u s w ho a ppear a s h alf-figures a bove A pollo

( the g od

h imself h as n o i nscription ) , a nd T halea a nd K alliope , t he p atron M uses o f c omedy a nd e pic p oetry . T his v ase t oo might h ave b een p roduced t o c ommemorate a s uccessful p erformance ,

o r a s a p rize-vase f or a l iterary o r

d ramatic w ork h andling t he M arsyas s tory . T hus,

e ven t hough

t he

i conography o f t he c ontest may h ave b ecome

e stablished i n r esponse t o i ts t reatment i n l iterature o r d rama , f ormally i t a ppears t o h ave maintained a r elatively i ndependent e xistence, with a n e mphasis o n t he mythological c haracter o f t he n arrative . O f

t he

c ontest,

f ifty o r

a l arger

p resence o f N ike,

s o v ases,

p roportion

G reek a nd

I talian ,

p re-determine

t he

which d eal with t he

v ictory

o f

A pollo

b y

c ommonly a pproaching h im w ith a w reath o r g arland .9

t he B ut

w hen w e c ome t o c onsider r epresentations o f t he p unishment o f M arsyas a nd t heir p ossible s ources t he e xisting e vidence i s s cant . I t m ay b e t hat t he p unishment w as r egarded a s i mplicit i n t he t riumph o f A pollo , n o m ore t han a c oda t o t he r ejection o f t he f lutes a nd t he e nsuing c ontest, a nd t hat i t w as n ever m ore t han s imply r eported o n t he s tage , l ike m any o f t he b loodiest e vents o f G reek d rama . T he

t erminal

e pisode

o f

t he

s tory

must h ave

b een f airly w ell k nown ;

P lato h as A lcibiades a ccuse S ocrates o f b eing , l ike t he f lautist M arsyas, a h ubristes ( Symposium 2 15 B ) , a t erm w hich c arries w ith i t t he i mplication o f a n i nevitable n emesis . r ecorded

b y H erodotus

T he e astern o rigin o f t his p hase o f t he s tory w as ( ca .

4 80-425

B .C .) :

T hey e ntered i nto P hrygia. ( and) m arched t hrough t hat c ountry t o K elainai, where i s t he s ource o f t he R iver M eander, a nd a nother a s g reat .

w hich i s c alled C ataractes ;

i t

v ery market-place o f K elainai a nd

i ssues

T here a lso h angs

t he s ilenos,

t he s kin o f M arsyas

P hrygian s tory t ells

t hat

r ises

i n t he

i nto t he M eander . o f w hich t he

i t w as f layed o ff h im a nd h ung u p b y

A pollo. ( VII, 2 6) X enophon ( ca . 4 30-355 B .C .), c overing t he s ame t erritory , p roduces s lightly f uller a ccount o f t he e vents c ulminating i n M arsyas ' p unishment : ( Kelainai)

.

i t

i s

h ere

c hallenged h im i n s kill ,

t hat

A pollo

b eat

Marsyas

who

a

h ad

s kinned h im a live a nd h ung u p h is s kin

i n t he c ave w here t he r iver h as

i ts

s ource . ( Anab . I , 2 , 7 -8)

I t i s i mpossible t o d istinguish n ow w hether f ragment o f a h anging M arsyas f rom T hasos ( A67, B .C .) , a n

t he

A ttic

l ost

p ainting

p olychrome

M arsyas r eligatus

r elief

l ekythos

( A59 ,

b y

t he 3 rd

Z euxis

i st

s olitary s culptural q uarter 5 th c entury

( fl .

q uarter

o f

c a . t he

4 00

B .C .) a nd

4 th c entury

B .C .) w hich r enders a k neeling b ound M arsyas ,

w ere c reated i n r esponse t o a

d irect

P erhaps m ore l ikely t hey w ere

l iterary

o r d ramatic

s timulus.

a s econdary r eaction t o t he p rominence g iven t he e arlier s tages o f t he

7

s tory ,

f ollowing

t he

i mportation o f

t he

o ther

e astern

c omponents

o f

t he

m yth . A fter t he m iddle o f t he 4 th c entury B .C . t he b ound M arsyas s eems t o h ave b ecome a r ather m ore p opular t heme i n v ase-painting ( A57 , A 60-A64) , b ut a part f rom a n i solated s mall s culptural h anging M arsyas f rom H alicarnassus ( A68) , a lso f rom s ome t ime a fter t he m id 4 th c entury B .C . , i t i s n ot u ntil t he l ate 3 rd o r e arly 2 nd c entury B .C . t hat w e f ind a m ajor w ork d ealing w ith t he h anging M arsyas . T his i s al ost s culptural g roup o f t he P ergamene s chool ,

r econstructed l argely t hrough R oman c opies .1 0

A lso d erived f rom t he P hrygian t radition i s t he r elationship o f O lympos a nd M arsyas a s p upil a nd t eacher . T his c onnection i s i mplied i n F ragment 1 57 o f P indar , p reserved i n t he S cholion t o A ristophanes ' N ub . 2 23 , w here : T he s ilenos ( speaks) t o t he P hrygian h ero O lympos : p oor c hild o f ad ay ! Y ou s peak c hildishly i n b oasting t o m e o f m oney .

T heir r elationship a nd i ts b earing u pon f lute-playing a re a mplified p assages f rom P lato : A re y ou n ot a p iper? W hy y es , a nd a t han t he s atyr . H is l ips i ndeed h ad m ankind b y m eans o f i nstruments , at hing a nyone w ho c an p ipe h is t unes ; f or t he b elonged , m ay I t ell y ou ,

i n t wo

f ar m ore m arvellous o ne t he p ower t o e ntrance s till p ossible t oday f or m usic o f O lympos ' f lute

t o M arsyas h is t eacher . ( Symp. 2 15 B )

S ocrates : . w ould y ou t ell m e t hen w ho , a mong t he a ncients , i s c onsidered a s t he f ounder o f t he l aws o f f lute-playing? . I s i t n ot M arsyas , a s o ne c alls h im , a nd t he o ne w ho l oved h im , O lympos o f P hrygia? ( Minos 3 18 B )

M arsyas w as d epicted t eaching t he f lutes t o O lympos b y t he g reat T hasian a rtist P olygnotos i n h is m ultifigure N ekyia , p ainted s ome t ime a fter t he m id 4 60 's B .C . f or t he L esche o f t he C nidians a t D elphi . O ur k nowledge o f t his l ost w ork , r epresenting t he d escent o f O dysseus i nto ' the U nderworld ' , i s o wed t o ad escription o f i t b y P ausanias . M arsyas w as s hown l ocated c lose t o f ellow i ll-fated m usicians O rpheus a nd T hamyras : .

o n a r ock s its

M arsyas

w ith O lympos

b eside h im

l ike a

b eautiful b oy l earning t o p lay t he f lutes . ( X , 3 0, 9 )

T o j udge f rom t he c ontext i n w hich M arsyas a ppears , w hile P olygnotos c hose t o r epresent M arsyas a s f lute-teacher t o O lympos, h e c annot h ave b een i gnorant o f t he s atyr 's u ltimate f ate .1 T he A thenian r elief A 2 c learly d emonstrates t hat b y t he e nd o f t he 5 th c entury B .C . O lympos h ad b een a ssimilated i nto t he m ainstream i conography o f t he M arsyas s tory a s c ompanion o f M arsyas, h ere w ith A thena .

8

O lympos

a ccompanies

h is

c entury B .C . ,

m aster

i n

m any c ontest

a nd

e specially i n v ase-painting .

p unishment H owever ,

s cenes

o f

t he

t he t heme o f

4 th

O lympos

a s p upil t o M arsyas i n t he a rt o f f lute-playing s urvived i ndependently ,

a nd

c an b e f ound o n s everal w orks f rom t he m id 4 th t o t he 3 rd o r 2 nd c enturies B .C .

( A72-76 ,

A 78 ,

A 79) ;

i t w as l ater e xploited e xtensively i n R oman a rt .

A nother w ork f eaturing M arsyas i s r ecorded b y P ausanias: T he M antineans h ave a d ouble t emple d ivided n ear t he m iddle w ith a w all . O ne p art o f t he t emple h as a s tatue o f A sklepios b y A lkamenes, a nd t he o ther p art i s a s anctuary o f L eto a nd h er c hildren ( i.e . A pollo a nd A rtemis) . T he s tatues a re b y P raxiteles . w ith t he M uses a nd M arsyas p iping c arved o n t he p edestal. ( VIII, 9 ,

T hree

r elief

s labs

f ound

a t

M antinea

( A24 a -c)

w hich

d epict

1 )

M arsyas ,

s ix

Muses, A pollo a nd a S cythian e xecutioner a re w idely r egarded a s h aving b elonged t o t his p edestal , a nd a re c onsequently a scribed t o t he w orkshop o f P raxiteles . D ated t o t he 3 rd q uarter o f t he 4 th c entury B .C . , t hey g ive a n i ndication t hat b y n ow Marsyas was b eginning t o o utgrow t he r ole o f s traightforward m ythological u pstart , t o b ecome a k ind o f c omplementary f igure t o A pollo h imself : s tanding f or e verything t hat A pollo w as n ot , h e e mbodied a d egree o f b arbarity a nd l ack o f r estraint e ntirely a lien t o t he g od . M arsyas was t he v irtual a ntithesis o f A pollo i n p hilisophical, c ultural a nd m usical t erms ; a s s uch h e w as a f itting d evice t o i lluminate t hrough c ontrast t he t rue c haracter o f A pollo . I n s pite o f t his d eveloping f unction a s an atural f oil f or t he q ualities o f A pollo i n G reece a nd M agna G raecia ,

i t i s i mportant t o n ote t hat M arsyas

r etained a s eparate i dentity a s a t utelary r iver d eity i n A pamea , t he r egion i n which K elainai i s f ound . A r emarkable s eries o f P hrygian c oins t estifies t o t his , p articularly t he a utonomous a nd p rovincial c oinage s truck a t A pamea K ibotos . M arsyas, o ften i dentified b y a n i nscription a nd h olding t he f lutes , a ppears i n v arious p oses o n t he r everse , s omtimes a longside A rtemis o n t he o bverse . T hese c oins s pan t he p eriod f rom c a . 1 33 B .C . t hrough N ero , H adrian a nd12 S eptimus S erverus t o V alerianus a nd G allienus i n t he m id 3 rd c entury A .D . T he i mages o n t hese c oins t end e ither t o r eflect c onventional r iver-god i conography , s howing M arsyas a s r eclining , s ometimes w ith a n o verturned f lowing v ase o r a c ornucopia a nd f requently with t he f lutes t oo, o r t o r ender t he e qually c ommon m otif o f a f lute-playing s atyr .

T hey c annot b e

t hought t o h ave i nfluenced t he p ortrayal o f M arsyas b y R oman a rtists o r t o g ive m ore t han a n e cho o f c ontemporary a rtistic r epresentations o f t he m yth , e xcepting o nly t he 2 nd - 3 rd c entury A .D . c oin o f H adrian 's t ime ( 72) ;

t he f irst

c oin 6 f rom A pamea a nd a M ysian

s hows M arsyas w atching A thena

w ith

t he f lutes, t he s econd A pollo a nd t he h anging Marsyas. I n a p assing c omment made i n c onnection w ith t he P olygnotan Marsyas a nd O lympos a t D elphi , P ausanias r ecalls a n e xample o f t he p owers o f t his P hrygian M arsyas : T he P hrygians o f K elainai maintain t hat

t he r iver

r unning

t hrough t heir c ity w as o nce t he f lute-player , a nd t hey c laim t hat Marsyas i nvented t he f lute-tune f or t he Mother ( i .e . C ybele) .

T hey e ven s ay t hey d rove

away t he G alatian a rmy

b ecause M arsyas f ought o n t heir s ide w ith t he w ater o f h is r iver

9

a nd t he m usic o f h is f lutes . ( X ,

3 0, 9 )

W e k now t hat a n umber o f f ighting f igures i ncluding s ome d epicting ' the d estruction o f t he G alatians

i n M ysia ' w ere d edicated a t A thens b y A ttalus

o f P ergamon, p robably when h e v isited t he c ity i n 2 01/200 B .C .1 3 n otable v ictory o ver t he G alatians, a chieved b y A ttalus s ome t ime

i n

T his t he

2 30 's B .C . , a nd t he d edication r ecording i t , c orrespond w ith t he p resumed d ating o f t he l ost s culpture-group w ith M arsyas h anging . I t m ay b e t hat t his i nfluential work o f a rt M arsyas

was e xecuted w ith r eference t o t he p art

was s upposed t o h ave p layed i n t he r epulsion o f

t he i nvading

G alatians - p erhaps t hrough a n u nexpected f looding o f t he R iver M arsyas, f or e xample .

AG alatian a rmy i nvading M ysia w ould a lmost c ertainly h ave n eeded

t o p ass t hrough P hrygian t erritory .

T he c hoice o f

t he f laying o f M arsyas

a s s ubject f or t he s culpture m ight t hen h ave a lluded t o t he d isplay o f t he s atyr 's f layed s kin a t K elainai, R oman a uthors

o n t he

t he s ource o f t he r iver .

w hole d emonstrate a n a wareness

b oth o f

M arsyas '

m ythical o rigin i n P hrygia a nd o f h is c ontinuing s tatus t here a s a l ocal o r r iver d eity . O ne s uspects t hat R oman a rtists a nd t heir p atrons m ust h ave b een s imilarly a ware o f h is P hrygian p rovenance .1 4 S trabo ( ca . 6 3 B .C . - A .D . 1 9) writes g eographical s urvey o f t he R oman w orld :

T he s easoned t raveller

f urther

o f

K elainai

H ere i s l aid t he s cene o f t he myth o f O lympos a nd M arsyas ,

i n

h is

a nd

o f t he c ontest b etween M arsyas a nd A pollo . A bove i s s ituated a l ake w hich p roduces t he r eed t hat i s s uitable f or t he m outhpiece o f t he p ipes, a nd i t i s f rom t his l ake t hat t he s ources o f b oth t he M ärsyas a nd t he

M eander p our . ( XII, 8 ,

1 5)

W hile D iodorus S iculus ( fl . c a . 4 0 B .C .) m ay c ontradict t he m ainstream t radition w hich l ocates t he c ontest a t K elainai , h is a ccount o f t he myth i s i mportant f or o ther r easons ;

i t o ccurs i n h is L ife o f C ybele :

T he m an w ho a ssociated w ith h er a nd l oved h er m ore t han a nyone e lse ,

t hey s ay ,

t o D ionysos

i n

w as M arsyas

t he P hrygian .

W hen t hey c ame

t he c ity o f N ysa t hey f ound t here A pollo ,

was b eing a ccorded h igh

f avour b ecause o f t he l yre .

w hen M arsyas s trove w ith A pollo i n a N yseans

h ad

e nraged

when h e

b een

a ppointed i s

a s

w ho a nd

c ontest o f s kill a nd t he

j udges

.

( Marsyas

b ecomes

d efeated b y A pollo s inging a nd p laying

s imulataneously ) . A pollo , w ho h ad b ecome s omewhat e mbittered i n t he q uarrel , f layed t he d efeated m an a live . B ut h e q uickly r epented , a nd b eing d istressed a t w hat h e h ad d one , h e b roke t he s trings o f t he l yre a nd d estroyed t he h armony o f t he s ounds w hich h e

h ad d iscovered . ( III,

I n t he f irst p lace , k now

f rom

c onnection .

P ausanias 1 5

5 8 f f.)

M arsyas i s p resented a s a n a ssociate o f t hat

t here

was

a b asis

C ybele ;

i n t radition f or

w e

s uch a

I n f act t he g oddess a ppears a s a c ompanion o r p artisan o f

M arsyas i n ac onsiderable n umber o f t he R oman c ontest s cenes, a lthough a mongst e arlier w orks s he m ay b e p resent o nly o n t he P raenestine c ista A 29

1 0

( later

4 th

c entury B .C .) .

H owever ,

p erhaps

a rt a nd t he s ubsequent mythological f oreshadowed n ature

o f

i n A pollo 's

h is

r emorse

r elationship

o f

m ore

i mportance

t reatment o f

a c hange

a t

w ith M arsyas .

t he s tory ,

a ttitude

I f

t o

t he

i n e arlier

f or R oman t here

g od a nd

t imes

i s t he

a rbitrary

j ustice was e xpected f rom t he g ods, h ere, while A pollo 's p unishment o f M arsyas i s c ruel ,

t he e ffect o f t his c ruelty i s m itigated b y h is r epentance .

T his n eed t o e xcuse o r s omehow j ustify A pollo 's a ctions i s m odified i n t he w ork o f l ater w riters, f rom O vid o n , i nto a n i ncreasing e mphasis o n t he h ubris o f M arsyas ; t he p enalty m ay b e e xtreme , b ut i s d eserved a nd t he s atyr a lone i s t o b lame. T o w hat e xtent ,

i f a t a ll ,

t his c osmetic i mprovement o f A pollo 's i mage

r eflects h is c urrent h istorical s tatus i s h ard t o t ell .

B ut i t i s t empting

t o l ink i t w ith t he s pecial f avour t hat A pollo e njoyed w ith A ugustus: t here h ad b een a t emple t o A pollo i n R ome f rom t he 6 th o r 5 th c entury B .C . ; e ven s o i n 3 6 B .C . d uring h is c onflict with S extus P ompey, t he f uture E mperor v owed a n ew t emple t o A pollo a nd t his w as d uly d edicated i n 2 8 B .C . I t w as h ere , A ugustus

b eneath t he p odium o f t he t emple o f t he A pollo P alatinus,

d eposited

t wo g lided

c ases

c ontaining

B .C . , w hen h e w as P ontifex M aximus .1 6 c ontinued t o b e r egarded a s a s uitable

t he

S ibylline

b ooks

t hat i n

1 3

C ertainly M arsyas m ust s till h ave f oil f or t he n ature o f A pollo a nd

e xemplar o f h is p ower , a s a t M antinea , f or h e w as a pplied d ecoratively a s a d iminutive h anging f igure t o s everal l arge-scale s culpted f igures o f t he g od ( 92, 9 4 , 9 5) ,

i ncluding

t he

c olossal c ult-statue f rom t he T emple o f A pollo

a t B ulla R egia ( 95, c a . A .D . 2 02) . D oubtless, a t a t ime when A pollo e njoyed i mperial f avour t hose s ubsidiary m yths i n w hich h e f eatured c ould b e e xpected t o h ave f lourished i n l iterature a nd a rt . E ven more s o n ow, t he i deal c ontrast o f s tyles, r acial a nd c ultural c haracteristics, A pollo

a nd

m usical

t raditions

e mbodied

i n

t he

c onflict

a nd M arsyas w ould h ave b een f ound a ttractive s ince

i s c ompositional o r t hematic t erms ,

b etween

b alance , w hether

w as a k ey a spect o f R oman t aste .1 7

W e

c an s ee t his a t w ork i n t he p endant-panels b alancing t he t wo m usicians o ne a gainst a nother p ainted o n t he walls o f P ompeii ( 8 - 1 0) . T he R oman d enarii s truck b y L . Marcius C ensorinus ( B2, 8 2 B .C .), where A pollo a nd M arsyas q uite l iterally r epresent t heir c omplementary n ature .

t wo

s ides

o f

t he

s ame

c oin ,

e pitomise

T hese c oins f urnish t he e arliest e xtant i llustration o f t he s tatue o f M arsyas o nce i n t he F orum a t R ome . C haracterised a s a p aunchy s ilenos , h e s tood o n a b ase ,

h is r ight h and r aised u p i n f ront o f h im a nd a l arge w ine-

s kin made f rom a n e ntire s kin - a s o-called a skos - s upported u pon h is l eft s houlder .

U nfortunately t he o riginal n o l onger s urvives, b ut i t w as c opied

i n r elief o n t he a naglypha T raiani ( B1, H adrianic) . t here ,

i n r elation t o

t he

b ackground

F rom i ts p lacing

b uildings a nd t he n earby o verhanging

f ig t ree, t he s ite o f t he s tatue h as b een l ocated with a f air d egree o f c ertainty i n t he c entral a rea o f t he F orum R omanum ,

i n t he v icinity o f t he

s acred f ig, v ine a nd o live t ree, a nd t he L acus C urtius . 18 T he s tatue b ecame w ell k nown b oth a s am eeting p lace , e specially o f l itigants, a nd a s a r esort o f p rostitutes . A b ronze s tatue o f a s imilar t ype h as b een r etrieved f rom t he c entral a rea o f t he f orum a t P aestum ( 3rd - 2 nd c entury B .C .)

a nd a n i mportant b ody

o f e vidence i n t he f orm o f c oinage a nd I mperial i nscriptions, c olonies a nd municipia , e lsewhere .1 9 d egree o f

l argely f rom

i ndicates t hat s uch s tatues w ere a f eature o f f ora

I n t hese p laces t he s tatue i s

l ikely t o h ave s ignified s ome

f ree c ivic s tatus b y a nalogy w ith R ome ,

1

r ather t han a ny p recise

f orm o f a llegience o r s ubservience t o R ome - a s t he l ate 4 th c entury A .D . c ommentator S ervius r ecords : B ut i n t he f ree c ities t here was a n i mage o f Marsyas, who i s u nder t he p rotection o f f ather L iber ( i .e . B acchus) . who . i s r ightly t he g od o f l iberty ; w hence a lso M arsyas h is m inister i s as ign o f l iberty i n c ities . ( ad A enidem , I II,20,IV ,28) T he o riginal i ntention b ehind s iting t he R oman s tatue i n a s acred a rea i s d ebatable . I ts p robable l ocation n ear t he L acus C urtius ( once a w ater s ource f or R ome) i s a nalogous t o t he d isplay o f M arsyas' s kin , t he d EnK 05 A l e s-y ou , i n t he m arket p lace a t K elainai , a t t he s ource o f a r iver .2 ° T he i conographic t ype o f t he a s mall E truscan b ronze t o 3 rd c entury B .C . i t p erhaps b ecause o f t he f layed s kin .2 1

F orum M arsyas i s o f s ome a ntiquity ; i t o ccurs i n B .M . 4 74 (NI, 5 00 - 4 80 B .C .) ; p robably b y t he 4 th b ecame b ound u p w ith t he i dentity o f M arsyas, s ymbolic a ssociation o f t he a skos w ith M arsyas '

A w ellhead f igure f rom R ome ( B3) o f t he s ame t ype a nd t he

l ittle M arsyas-figures a t t he C ena T rimalchionis d ispensing a r iver o f s auce ' ex u triculis ' d isclose t hat t he t ype c ould b e a ssociated w ith w ater s ources a nd a dapted f or a ppropriate d ecorative p urposes .2 2 B ut t he f igure m ay h ave e pitomised s ome m ore g eneral p rinciple o f f ertility a rising f rom t he c onnection o f M arsyas w ith B acchus - p erhaps t hrough h is w ine-skin a nd f lute-playing . T he A ntonine c ommentator C harax o f P ergamon a nd S ervius b oth s eem t o s upport t his i nterpretation :2 3 I t i s s aid t hat D ionysos, l eaving I taly a fter h is e xpedition a gainst t he T yrrenians , l eft t here t hose t oo y oung , a nd t hose o f t he s ilenoi w ho w ere t oo o ld ; t he l atter o ccupied t hemselves w ith v iticulture a nd I taly b ecame a c ountry p roducing w ine . T his a ccounts f or t he r aising o f s tatues o f t he t ype c arrying w ine i n a n a skos . ( Charax i n F rag.Gr .Hist. I IA , p . M arsyas,

h is m inister,

p erhaps a s ign o f l iberty ,

1 48)

p laced b y c ities i n t he f orum,

i s

who b y h is r aised h and c alls t o

w itness t hat n othing i s l acking i n ac ity . ( Servius, a d A en . I V , 5 8)

B acchus i s f requently p resent a t t he c ontest b etween A pollo a nd M arsyas o n R oman s arcophagi o n t he s ide o f M arsyas , a nd M arsyas a nd O lympos a ppear t wice o n a n e nd p anel o f s arcophagi d epicting B acchic p rocessions o n t he f ront ( 85 a nd 8 6). B ut

o verall ,

d espite

-o r

p erhaps

h istory o f t he F orum M arsyas t ype ,

b ecause o f - t he u biquity a nd l ong

i t m ade l ittle o r n o i mpact o n t he r ange

o f i mages e mployed b y R oman a rtists i llustrating t he myth o f M arsyas; s imilarly , i t w as l argely i gnored b y m ythological w riters . I t h ardly n eeds t o

c oncern u s

f urther e xcept

t o u nderline t hat

t he c haracter o f

M arsyas ,

p articularly i n t his i ncarnation w here l ike a n a rchetypal S t . B artholomew h e c arries t he e mblem o f h is f ate , m ust h ave b een v ery f amiliar a nd r eadily I dentifiable .

I t i s i n t he l ight o f t his k nowledge t hat t he a ppearance o f

M arsyas i n m ythological a rt a nd l iterature s hould b e v iewed .

1 2

O vid ( 63 B .C . - A .D . 1 8) s eems t o e stablish t he p attern f or t he t reatment o f t he m yth i n t he I mperial e ra . H e m anaged t o i ncorporate i t i nto t hree o f h is w orks: ' Away w ith y ou ,' s aid P allas, ' to me, f lute, y ou a re n ot worth t he c ost ! ' w hen s he s aw h er c ountenance i n t he s tream . ( Ars A m .

( Athena i s

s peaking o f

t he Q uinquatrus

I II, 5 05 f f.)

f eastival) M arch k eeps

a

f estival o f m ine b y t hat n ame , a nd t hese k inds o f t hings a re t he n umber o f my i nventions .

Iw as t he f irst t o c ause t he l ong p ipe

t o g ive f orth i ts s ound ,

t he b ox-wood f irst h aving b een b ored i n

a f ew h oles .

T he melody p leased m e ;

b ut

i n

t he

c lear

w aters

t hat r eflected my f ace, I s aw t he s welling o ut o f my v irgin c heeks. ' The a rt i s n ot worth t he p enalty f or me,' Ic ried, ' farewell my p ipe ! ' T he r iver 's b ank r eceived i t a s I t hrew i t away .

A s atyr h aving f ound i t

a nd k nows n ot i ts u se ; e mits a s ound ;

i s a t

f irst s truck w ith w onder

b ut h e p erceives t hat w hen b lown i nto i t

. .and n ow a mong t he n ymphs h e i s v ain o f h is n ew-

f ound a rt . H e c hallenged e ven P hoebus ; P hoebus b eing v ictor , h e w as h ung u p ; a nd h is m angled l imbs w ere s tripped o f t heir s kin . Y et I a m i nventress a nd o riginator o f t his m elody . ( Fasti, V I, 6 96 f f.)

.

a nother m an r emembered

t he

t ale

o f

t he

s atyr

w hom

A pollo

p unished , a fter h aving d efeated h im i n a c ompetition o n t he r eed p ipes,

t he

c lamoured ,

i nstrument

M inerva

i nvented .

' Help!'

' Why a re y ou s tripping m e f rom m yself?

Marsyas

N ever a gain ,

Ip romise ; p laying t he p ipe i s n ot w orth t his ! ' B ut i n s pite o f h is c ries , t he s kin w as t orn o ff t he w hole s urface o f h is b ody ; i t w as a ll o ne r aw w ound . B lood f lowed e verywhere , h is n erves w ere e xposed u nprotected , h is v eins p ulsed w ith n o s kin t o c over t hem . I t w as p ossible t o c ount h is t hrobbing o rgans , a nd t he c hambers o f h is l ungs , c learly v isible w ithin h is c hest . T hen t he w oodland g ods , f or h im ; t hen , .

t he f auns w ho h aunt

h is b rother s atyrs t oo ,

a nd

t he n ymphs .

t he

c ountryside m ourned

a nd O lympos,

d ear t o h im e ven

T he f ertile e arth g rew w et w ith t ears

T hen f rom t hese t ears i t c reated a s pring which i t s ent

g ushing f orth i nto t he o pen a ir . r ushing d own t o t he s ea . .

F rom i ts s ource t he r iver g oes I t i s t he c learest r iver i n

P hrygia , a nd b ears t he n ame o f M arsyas . ( Metam . V I, 3 84 f f.)

I n v arying d egrees t he f ull r ange o f e pisodes w ith

t he

i nclination ,

p unishment, c ommanding w ith

Marsyas

l ittle

n oted

d issection .2 4

i s

p resented a nd i n l ine

i ncreasingly

t o

j ustify

i s p ortrayed a s a c reature

o f

v anity

s ympathy .

t he g ory o utcome, A puleius

e arlier , T here

d escribed ( Ca .

A .D .

t he

s atyr 's

( 'superbus ')

i s h ere a lso a n e vident p reoccupation with

t he

d etachment

o f

a c linical

1 55) e xpresses m ore v igorously t he h ubris

1 3

o f M arsyas a nd s pells o ut, b esides , s ome o f t he c ontrasting q ualities o f t he t wo p rotagonists w hich a ppealed t o R oman t aste: . -

t his

i nhabitant

c ountenance , b ites

s avage ,

a nd h airs .

o f

b arbarous

b ristly

w ild

P hrygia,

b eard ,

h is

h is

b ody

b estial

c overed

i n

S uch a s h e was, h e d ared - s acrilegious

r ashness - t o c ompare h imself t o A pollo: a c ontest b etween u gliness a nd b eauty , r usticity a nd k nowledge , t he b east a nd t he g od .

I ronically M inerva a nd t he M uses h elped a t t he c ontest i n

t he c apacity o f j udges, a pparently w ishing t o t ease b arbarity o f t he monster a nd p unish h is s tupidity .

t he B ut

M arsyas -Aid n ot u nderstand t hat h e w as b eing m ade f un o f ; a nd b efore p laying h e b egan b y s pouting i n b arbarous l anguage a n umber o f i nanities o n h imself a nd A pollo, p raising . . ( his o wn d isgusting c ondition)

. .and

r idiculously,

h e

r eproached

A pollo 's o pposing q ualities - ( his b eauty a nd m any a bilities) . T here was a n o utburst o f l aughter a mongst t he Muses when t hey h eard A pollo

r eproached

w hich a g ood m an w ould

w ish

f or t hese n ew k inds o f f aults, t o

b e

a ccused .

A nd

o ur

o f

f lautist

h aving l ost t he c ontest , t hey l eft h im t here. h is f lesh e xposed a nd i n t atters . S uch w as t he p unishment t hat M arsyas b rought o n h imself f or h aving p layed a nd l ost .

A s f or A pollo ,

t his o bscure

v ictory s eemed h umiliating t o h im . ( Florides, n o. I II)

B ut a s i f A pollo h ad e njoyed a ' good p ress' f or t oo l ong a nd s ome r eaction h ad s et i n , a n o pposing t endency b ecomes a pparent a round t his t ime , o r

s oon a fter .

( N I . A .D . f amily :

W e

15-200) ,

L eto :

f irst

m eet

i t

i n t he D ialogues o f t he G ods

i n a p arody a iming ,

i t s eems ,

o f

L ucian

t o d ebunk A pollo 's w hole

A nyway , Ik now h ow i t v exes y ou t o s ee m y c hildren a mong

t he g ods,

murderer a nd f alse p rophet

t hough y ou c all

t hem,

p articularly w hen t hey p raise m y d aughter f or h er b eauty a nd a ll a dmire m y s on f or h is l yre-playing a t d inner . H era :

Y ou make me l augh ,

L eto .

M arsyas w ould h ave b eaten a t m usic ,

Who c ould a dmire o ne t hat a nd s kinned a live w ith h is

o wn h ands, i f t he M uses h ad c hosen t o j udge f airly? B ut a s i t w as h e w as t ricked a nd w rongly l ost t he v ote , p oor f ellow , a nd h ad t o d ie. ( Dial. D eorum n o. X VI)

H yginus ( N I . A .D . 2 07) a lso a ffirms t hat A pollo w on t he v ote o f t he M uses b y a t rick :

t he g od p layed h is c ithara i nverted, a f eat Marsyas c ould n ot

a ccomplish w ith t he f lutes

( Fabula

C LXV) .

T he

s ame d ishonest

A pollo v ictory i n a n imperial work o f u ncertain d ate,

p loy g ains

t he B ibliotheka

f ormerly a ttributed t o A pollodorus ( Bibl. I , 4 , 2 ).

a t

A lthough i n G reek M arsyas-works t he M uses h ad b een s hown a s b ystanders t he e xecution ( Attic r elief l ekythos A 59) a nd were p resent a t t he

c ompetition o n t he M antinean r elief ( A24) ,

t hey d id n ot f eature p rominently

i n t he R oman c ontest s cenes u ntil t hey b egan t o a ppear e n masse o n M arsyas-

1 4

s arcophagi,

o ur e arliest e xample b eing X II a /b ( ca . A .D . 1 70/80 - 2 00),

w here a ll n ine a re r anged a cross s cene .

O f

t he b ackground o f

a c ontinuous

n arrative

c ourse t his c oincides c hronologically w ith t heir s eparate

a ppearance o n t he d istinctive c ategory o f M use-sarcophagi , b ut t here i s s ome c orrespondence o f d ate b etween t heir i ntroduction o n t he M arsyas-sarcophagi a nd o ur

f irst

w ritings

o f

l iterary

L ucian ,

i ntimation o f

A puleius

a nd

t heir

i nvolvement

H yginus .2 5

a t

t he

c ontest

i n

T here i s a s imilar p arallel

w ith t hese a uthors i n t he A pollo who h olds a n i nverted c ithara o n t he s arcophagus X I c ( A .D . 1 50-170/80) . I t i s s eldom r eally p ossible t o t ell d efinitively i n w hich d irection a ny i nfluence m ay h ave f lowed , a nd t he t imed elay m ight

b e

v irtually n on-existent

o r c onsiderable :

o ur f irst l iterary

r ecord o f t he S cythian e xecutioner o f M arsyas o ccurs i n t his s ame f abula o f H yginus, y et t he c haracter h ad b een c urrent i n t he a rtistic t radition , w hich p erhaps i nspired H yginus, f or m ore t han f ive c enturies - o riginally d erived f rom t he u se o f S cythians a s p olice i n A thens, a nd t heir a ppearance t hus i n A ttic d rama. 2 6 I n g eneral , t he i ssue o f h ow f ar t here w as a ny d irect o r s ystematic t ransmission o f i mages f rom l iterature t o t he v isual a rts i s c ontroversial , a nd b ound t o b e o bscured b y t he i ncomplete s urvival o f e vidence f rom b oth s pheres. T he q uestion i s l ikely t o b e f urther c onfused b y a ny r ole a ssigned

t o

b ook i llustrations

c irculation o f d esigns .2 7

o r

p icture

o f matchink l R oman a rt a nd l iterature, c onvincing .2 ö

s tory-books

i n t he c reation a nd

V arious e xcursions h ave b een m ade i nto t he f ield b ut

I n t he c ase o f t he M arsyas

t he r esults a re n ot a lways

s tory ,

r etold m any t imes ,

t here

a re i nstances w hen t here i s a c onvergence o f i deas, a s w ith t he i nverted c ithara j ust c ited . A s mall n umber o f o ther s uch c orrespondences o f d escriptive d etail o r n arrative l ine a re n oted i n t he t ext, b ut t hese s eem t o b e i solated e xamples r ather t han i ndicative o f a wider p henomenon . E ssentially - t he a pplication a nd d evelopment o f t he i conography a nd m ythology i n i mperial t imes s eem t o h ave b een c losely a llied , e xhibiting a d egree o f i nterdependence , e ach t ending t o r eflect t he o ther . I n t he I magines o f P hilostratus J unior ( active c a . A .D . 3 00) t he two s trands h ave b ecome a lmost i ndistinguishable: T he P hrygian h as b een o vercome ; a t a ny r ate h is g lance i s t hat o f a m an a lready p erished ,

s ince h e k nows w hat h e i s t o s uffer a nd

h e r ealises h e h as p layed t he f lutes f or t he l ast t ime , i nasmuch a s h e a cted i nopportunely w ith i nsolence t owards t he s on o f L eto . H is f lute h as b een t hrown away, c ondemned n ever t o b e p layed a gain .

A nd h e s tands n ear t he p ine t ree f rom w hich h e k nows

h e w ill h ang, h e h imself h aving n amed h is own p enalty, f layed f or a w ine-flask . y onder w ho i s w hetting t he h im ; t he

t o b e

H e g lances f urtively a t t he b arbarian e dge

o f

t he k nife

t o

b e a pplied

t o

f or y ou s ee, t hat t he W in% h ands a re o n t he w hetstone a nd i ron ,

b ut

t hat h e

l ooks

u p a t

M arsyas

w ith g laring

e yes.

B ut A pollo i s p ainted a s r esting o n a r ock ; t he l yre w hich r ests o n h is l eft a rm i s b eing s truck b y h is l eft h and i n a n i dle f ashion .

h is r ight h and r ests o n h is

l ap ,

g ently g rasping t he

p lectron , r elaxed b ecause o f h is j oy i n t he v ictory . i s t he r iver t hat i s t o c hange i ts n ame t o M arsyas .

H ere a lso A nd l ook ,

p lease , a t t he b and o f s atyrs, h ow t hey a re r epresented b ewailing M arsyas , b ut a s d isplaying , a long w ith t heir g rief, t heir p layful s pirit a nd t heir d isposition t o l eap a bout . ( Im . 2 )

1 5

T he s atyr m ourners s uggest a d ebt t o O vid , w hile t he A pollo a nd S cythian , s o a cutely o bserved, c ould h ave b een a bstracted f rom a ny o f a n umber o f p aintings o r r eliefs s till e xisting t oday .2 9

A nd u nderlying t his ,

t here i s

a f ascination w holly t ypical o f b oth l iterature a nd a rt w ith t he i mpending n emesis a nd w ith t he i nterplay o f b alance a nd e xtreme c ontrast i n c haracter a nd m ood. F inally , b oth l iterature a nd a rt a re l ikely t o e xpress c ontemporary p erceptions o f m yth a s a c ommon h eritage , a nd i nevitably t hey w ill t end t o r un a c lose a nd e ven p arallel c ourse.

1 6

C hapter 2 A THENA A ND M ARSYAS J ust a s

i n l iterature t he c onnection o f A thena with f lute-playing

p redates h er i nvolvement w ith M arsyas,

s o t oo i n t he v isual a rts .

T hus w e

f ind h er w ith a p air o f f lutes i n t he c ompany o f H erakles o n a n A ttic b lackf igure a mphora ( ca . 1 980.

5 20-510 B .C .) w hich a ppeared o n t he B asel a rt m arket

i n

1

I t i s o nly w hen A thena r ejects t he f lutes i n t he m id 5 th c entury B .C . s tatue-group l inked w ith t he n ame o f M yron t hat M arsyas i s i ntroduced o nto t he v isual s cene . W hether o r n ot t he m onument w as d irectly c onnected w ith t he d ithyramb M arsyas o f M elanippides, o r i ndeed a ny o ther l iterary o r d ramatic t reatment o f t he s tory ,

i t m arks f or u s t he l aunching p oint o f t he

p urely v isual h istory o f t he m yth o f M arsyas. 2 T he w ere

i ndividual

q uite

k nowledge

f igures

o f

M arsyas

a nd

f requently c opied

f ull

s cale

o f

t he

g roup

t he

f orm

o f

A thena d erived

f rom

f or R oman c lients a s

a n

e nsemble

t his

( Al a -o) . i s

b ased

g roup O ur u pon

r econstructions c ombining t hese R oman s tatue-types a long t he l ines o f p resumed G reek a nd R oman I mperial p eriod c opies i n o ther m edia w hich r ender b oth f igures B .C .

A ttic

j uxtaposed .

r ed-figure

T he e arliest o f

v ase

( A3) ;

l ater

s truck u nder H adrian a nd t he A ntonines f igures

a s

t hey

c ould

b e

s een

i n

t hese i s o n a l ate

e vidence

5 th c entury

A thenian

c oinage

( Al p -q) b elieved t o d epict

t he t wo

t he

i ncludes

r ound .3

We

h ave

i ndependent

c onfirmation f rom P ausanias t hat s uch a g roup was s till i n s itu o n t he A thenian A cropolis i n t he l ater 2 nd c entury A . 11 4 T he p air o f P liny:

s tatues p robably c orrespond t o t hose a scribed

t o

M yron b y

( Myron)...fecit...et S atyrum a dm irantem t ibias e t M inervam . ( NH X XXIV , 5 7)

I t i s u ncertain w hether P liny w as r eferring t o t he c omposite g roup o r t o t wo s eparate

p ieces,

a s

t he t ext a llows e ither i nterpretation .

H e may o nly

h ave e ncountered t he s tatues o f M arsyas a nd A thena i ndividually , s ince w e h ave n o f irm i ndication f rom t hose c opies r etrieved f rom a ssemblages o f s tatues

( Al a ,b) t hat R oman c ollectors

a cquired o r d isplayed

t he

t wo a s

a

c omplementary p air. I n s pite o f t he r elative p opularity o f t he Myronian f igures i n t he I mperial p eriod , t here

i s

e lsewhere

l ittle

i mplicit i n t he n umber o f R oman c opies t o

s uggest

t hat

e xerted a ny d irect

t he

t o h ave s urvived ,

e xistence o f s uch c opies

i nfluence

o n

t he v arious

w ays

c hose t o i llustrate t he i nitial e pisode o f t he s tory .

i n R ome a nd

R oman a rtists

C ertainly t hey

u tilised a nd a dapted t he M yronian f igurse-type o f M arsyas , b ut t his h ad l ong b een a ssimilated i nto t he g eneral i conography o f t he m yth , a s c an b een s een f rom

t he A pulian b ell c rater A S

( below) .5

T hese d irect

s culptural

c opies

o f t he M yronian f igures w ere n o d oubt a dmired a nd c ommissioned f or t heir c lassical q ualities a nd a ssociations, a nd y et t aken a s a n e nsemble t hey

1 7

n otably f ail t o f orm e ither a h omogeneous c ompositional e ntity, o r a n e ffective i llustration t o t he myth .

T he

s eemingly

u neasy c onjunction o f

t he t wo f igures - t he s erenely u nperturbed A thena c ontrasts s trikingly w ith t he s tartled M arsyas - h as e ven l ed s ome t o q uestion w hether t he t wo c an b elong t ogether , m ust2 5

i n s pite o f t he w eight o f

A s imilar p erception o f

t he e vidence t hat

i n f act t hey

t he f undamentally d ifferent n ature o f t he

p ortrayal o f s atyr a nd g oddess m ay a ccount f or t heir d isplay s eparately a s c opies i n a ntiquity , a t endency h inted a t a s e arly a s t he l ate 5 th c entury B .C . i n t he d ispersal o f t he two, r elief ( A2) . H owever , which

was

i t

m ust

i ntended

o ne o n e ither f ace o f a d ouble-sided

s urely h ave b een p recisely t his e ssential d ifference t o

p roject

t he

u nderlying

p hilosophical t hemes n oted p reviously .

moral,

p olitical

a nd

T he M yronian g roup f unctions w ell

u pon t he l evel i t w as c onceived , a s a s ymbolic d emonstration o f a ttitudes e ntirely a ppropriate f or t he t ime a nd p lace o f t heir e xpression , j ust a s w as t he d ithyramb o f Melanippides. T he s cenes o f c entauromachy o n t he P arthenon m etopes e xpress a n a nalogous m essage , t erms.

i f c ouched i n l ess s pecific

I t i s i mpossible n ow t o a ssess w hether t he M yronian g roup ,

i n c arrying

t hrough t his p rogramme , m anaged a lso t o r eflect a n a ctual m oment f rom s ome l iterary o r d ramatic a ccount o f t he myth, i n which Marsyas w itnessed A thena 's r ejection o f t he f lutes, s tatement,

p rotagonists . g roup ,

o r w hether i t was a p urely s ymbolic

e xploiting o nly t he p articular c haracteristics o f t he t wo A t a ny r ate, i t s eems n atural e nough t hat t he M yronian

o nce r emoved f rom i ts p roper h istorical c ontext,

s hould b e f ound t o

l ack a ny r eal n arrative c ontent, h owever masterly t he e xecution o f i ts i ndividual c omponents. What t he Myronian g roup i s u nable t o r eveal e xplicitly i s w hy A thena s hould h ave c hosen t o r eject t he f lutes . I t i s a rguable t hat t o a nyone c onversant w ith t he m yth , s uch a l iteral-minded e xplication w ould b e r edundant,

i f n ot a ctively h ostile t o t he m ore s ubtle

i nherent q ualitites o f t his c onfrontation o f t he s atyr a nd g oddess:

t heir

s tance s peaks o f c onflict , e ven i f t his i s l ess d ynamically s tated t han i n t he l ater b ut c omparable f igures o f A thena a nd P oseidon f rom t he west p ediment o f t he P arthenon ; a nd t he manner i n w hich M arsyas s hies a way , a s i f t o w ard o ff a b low ,

i s p erhaps a s much a p roleptic r ecognition o f e vents t o

f ollow a s a r eaction t o A thena a nd t he f lutes. S till , t he f act r emains t hat b y t he m id 4 th c entury B .C . s ubtlety h ad b een s acrificed f or a c learer s tory-line i n a n ew a pproach t hat was s ubsequently t aken u p b y R oman a rtists . T he f ocus s hifts f rom t he i nstant o f A thena 's d iscarding t he f lutes t o a n e arlier p hase , p rocess

t hat

c ulminates

i n t heir r ejection .

w hich m akes c lear t he

A thena b lows

t he f lutes a nd

l ooks a t h er r eflection ; s he i s a t t he p oint o f d iscovering h ow f lutep laying d istorts

t he a ppearance o f h er f ace .

t he A pulian b ell c rater A S ( fig . 3 ) ,

e lements t hat w ere t o r eappear i n R oman w orks . d ifferent

l evels,

h inting a t

a l andscape

l arge t ree w ould t end t o c onfirm ;

T his n ew f ormula i s s een o n

w hich a lready i ncorporates many o f t he

M arsyas,

T he f igures a re d isposed a t

s etting

w hich

t he

p resence o f

a

s till i n a r ecognisably M yronian

a ttitude o f s urprise , i s n ow r aised u p a bove A thena a nd p hysically r emoved f rom h er - a n o bserver - a nd t here i s n o s ense o f d irect c onfrontation . M eanwhile , A thena i s s eated a s s he p lays ; t hrough t he d evice o f a y outh h olding u p am irror f or h er , i t i s m ade c lear s he i s v iewing h er r eflection . T he u se o f a n i ntermediary t o r epresent t he s pring o r r iver a nd c onvey t he b ad n ews t o A thena m ay s tem f rom t he h andling o f t he s tory i n A ttic d rama ; t he m irror i tself s eems a s omewhat

t heatrical s olution ,

1 8

a nd

t he

i mage

o f

A thena o n t he A pulian v ase ,

h elmetless a nd s itting o n h er d iscarded a egis ,

r ecalls M arsyas ' e xhortation t o t he g oddess i n t he a nonymous d ramatic f ragment t o ' take u p y our a rms% 7 B oth t hese d evices , t he m irror , a nd t he r iver o r s pring p ersonification who h olds u p a mirror o r g estures

t o

c ommunicate w ith A thena , w ere a dopted f or R oman w orks, d oubtless b ecause o f t he e xtra n arrative d imension t hey p rovide . O nce h e h ad b een r elegated t o t he r ole o f a n a larmed s pectator , i nterest c oncentrated m ore o n A thena , a nd t here d eveloped a t endency t o t ransform M arsyas i nto a n e ven o f t he r ocky s cenery , e xamples . I n t hose a s t he r eflection o f

m ore r emote o bserver , u ltimately c oncealed b eyond p art o r t o d ispense w ith h im e ntirely , a s i n c ertain R oman c ases w here M arsyas i s a bsent , i nternal e vidence , s uch A thena 's f ace ( 3) o r t he i nvolvement o f a s pring n ymph

o r s ome o ther m eans o f d emonstrating t hat s he i s c onsulting h er r election ( 2) , o r e xternal e vidence , s uch a s i nclusion w ithin a M arsyas c ycle , s hould c onfirm t hat a n e pisode f rom t he M arsyas s tory i s d epicted . T his m ust b e s o i n r ecognition o f A thena 's c onnection w ith f lute-playing o utside t he m yth o f M arsyas .8 E xcluding t he d irect s culptural a nd n umismatic c opies o f t he M yronian g roup, n ineteen R oman v ersions o f t he i nitial e pisode o f t he s tory a re r ecorded , t hirteen b eing p art o f m ore c omplete c ontinuous n arrative o r o ther c yclic w orks . T wo c yclic s cenes ( IV a , X I a ) g ive a d ivergent v iew a nd a re d iscussed s eparately b elow , b ut o therwise t he r emaining w orks s how A thena h olding o r b lowing t he f lutes .9 T he g eneral i mpression o f t hese R oman w orks w here A thena i s d epicted w ith t he f lutes - a nd i t c uts a cross b oundaries o f medium a nd r elative c hronology - i s o f i nventive i mprovisation u pon a w ell-defined r eceived t heme . H owever , t he f reedom w ith w hich t he v arious c ompositional e lements, i n t hemselves f airly c onstant, are j uggled a nd r ecombined makes i t d ifficult t o d iscern i mmediately t he q ualitites o f a ny i ndividual p rototype , e ven t hough r epeated u se i s m ade o f p articular f igure-types o f A thena , o ne v ery d istinctive . T wo s eparate f orces a ppear t o h ave b een a t w ork : t he r outine p rocess o f r ecapitulation a nd a daptation o f a r epertoire o f f igural c omponents u pon w hich a rtists d rew m ore o r l ess a t w ill ; a nd t he f ree a nd o ften i maginative d evelopment o f q uite g eneralised i nherited t raditions . D ifferent w orks e xhibit t hese c ontrasting t endencies i n v arying p roportions . T wo P ompeian p aintings ( 1 , I ) , t he e arliest s urviving R oman M arsyasA thena w orks , s eem t o r ecall t he p ictorial t radition w hich f ound e xpression i n t he A pulian v ase A S . E ven s o , e ach i s e xecuted a ccording t o a n e ntirely d ifferent l andscape i diom . M uch o f t he f iner d etail o f 1 (Nh 2 0-10 B .C . , f ig . 1 ) h as f aded , b ut M arsyas a nd A thena c an b e m ade o ut i n t he s ame b asic p ostures a nd l ogical s patial r elationship a s t hey a ppear o n t he v ase : A thena s itting w ith t he f lutes a t t he l eft, M arsyas s tanding a l ittle h igher a t t he r ight i n a n a ttitude o f s urprise . W here b etween t hem o n t he v ase t here i s a p ersonification s upporting a m irror t o r eflect A thena 's d istorted c heeks, i n t he p ainting t here i s a p ool , p art o f av ague b ut p erspectively c oherent l andscape s etting . T he s imilarity b etween t hese t wo w orks s uggests a f airly s trong e arly H ellenistic v isual t radition f or t he s cene , i n S outh I taly a t p ainter .

l east ,

a nd

t hat

s ome v ersion o f

t his

w as k nown t o t he P ompeian

T he i diosyncratic p ainter o f I ( early T hird S tyle, p erhaps l ate A ugustan , f ig . 2 ) a ppears i ndependently t o h ave h ad a ccess t o a r elated s ource , a lthough h e m ade r ather d ifferent u se o f h is m aterial . H e b elonged t o a n e clectic a telier e qually h appy d rawing o n H ellenistic o r R oman

1 9

c onventions .1 0 I n h is p icture a n e xtremely h igh v iewpoint a llowed t he l andscape t o b e e xpanded v ertically t o e ncompass a c ontinous n arrative d evelopment o f t he s tory i nto t he c ontest p hase . T he f lute-blowing A thena i s l ocated l ow d own a t t he l eft a bove a p ool ; r ising o ut o f t he w aters i s a n ymph w ho h olds u p am irror f or h er t o e xamine h er r eflection , c learest l ink w ith t he e arlier t radition .

M arsyas

p robably t he

i s a gain a f ull-length

f igure, a lthough h e h as b een r emoved t o t he s ummit o f a t owering r ock o utcrop a t t he l eft, f rom w hich v antage-point h e c an l ook d own o n A thena . H e n o l onger a ppears

i n a ' surprised ' M yronian p osture ,

b ut h is

r ight h and

i s b rought u p t o h is f ace i n ag esture w hich m ay s ignify t he s ame . T he t wo P ompeian p ictures a ppear t o s tand i n r elation t o e ach o ther m uch a s t he V illa I mperiale I carus p anel ( late A ugustan) d oes t o t hat f rom P ompeii V 2 ,

9 -12 ,

a c ompanion p ainting

t o

o ur

I ,

w here

c ognate

f igure-

g roups a re f ound a ssimilated i nto d ifferent l andscape t raditions ." P erhaps t here m ay h ave b een a s eparate R oman m odel u pon w hich I r elied , s ince a n e arly 4 th c entury A .D . T unisian mosaic V II ( unpublished) s hares c ertain f eatures o f t he d esign :

A thena s its b lowing t he f lutes o ver a p ool a t t he

l eft, a nd i s r eported a lso t o b e l ooking i nto a m irror ; h er f rom b ehind a r ock a t t he r ight. 1 2

M arsyas s pies u pon

A p ainting f rom N ero 's D omus A urea ( 2, a fter A .D . 6 4 , f ig . 4 ) , n o l onger e xtant b ut r ecorded b y F . B artoli , d epicted A thena i n a s triking f rontal p ose ,

s itting w ith h er r ight f oot s et u p o n a b lock o r l edge a nd h olding ,

r ather t han b lowing , t he f lutes . T here w as n o i ndication o f l andscape , t he b ackground b eing a n u ndifferentiated b lue , w ith p erhaps a s imple a nd q uite l ow h orizon l ine; i nstead, t he c ontext - t hat o f a n a quatic a nd r ural s etting - w as e stablished s olely b y t he t hree n ymphs g rouped a round A thena . O ne , t he p ersonification o f a s pring o r s tream , r eclined a t A thena 's f eet a nd , f rom h er e xpressive g esture , m ust h ave b een r elaying t o t he g oddess t he u nfortunate e ffect o f h er music-making . e vident

i n

o ther

c lassicising

p aintings

t endency ;

i t

f rom

t he

c ertainly

T he s uppression o f s etting, D omus

f ocuses

A urea,

may

a ttention

r epresent o n

t he

a

f ine

m egalographic f igure-group . S ince a ccess t o t he D omus A urea must h ave b een s everely r estricted a fter i ts v acation b y N ero ( parts m ay b riefly h ave b een o ccupied b y T itus a nd D omitian ) , a nd much o f t he s ite w as a bandoned o r r edeveloped w ithin a f ew d ecades,

t he n umber o f m ore o r l ess a ccurate v ariations a nd a daptations o f

t he s ame d esign i n t he 2 nd t o 4 th c enturies A 01 , p rincipally o n s arcophagi , s uggests t hat a n i ndependent w ork e xisted , o f w hich t his p ainting w as i tself ac opy . I t

i s a s tandard r eaction t o p resume a G reek p rototype f or a d esign o f

s uch w idespread i nfluence a nd r elative s ophistication - i n t he h andling o f f igures a nd d raperies a t l east . B ut p rior t o t he D omus A urea p ainting n o t race o f a ny a nalogous c omposition s urvives ; i t i s a t v ariance w ith t he t radition

r eflected

i n

t he

e arliest

P ompeian p aintings

( 1 ;

I ) ,

w here

t he

s uccess o f t he c omposition d epends t o s ome e xtent o n t he p resence o f M arsyas . Moreover, i t h as l ittle i n c ommon w ith t he s cene o n t he A lexandrian k antharos A 79 a ( 3rd-2nd c entury B .C . , s urviving

p re-Roman A thena-fluting

f ig .

6 0) ,

t he o nly o ther

c omposition w ith a d efinite M arsyas

c onnection , w here A thena s tands t o p lay t he f lutes, s een i n p rofile. T he d istinctive p ose o f A thena i n 2 t ends t o u ncomfortable r endered i n r elief, e ven t hough a pplied

l ook p articularly r epeatedly i n t his

m edium , w here t he e xtreme f oreshortening r equired f or h er r aised k nee w hen

2 0

v iewed

f rontally

l ed

t o

a v ariety

o f

c ompromise

s olutions .

a ppear t o r ule o ut a r elief a s o riginal s ource f or t he d esign .

T his

w ould

O ne c an f ind

p arallels f or t he p ose i n c ertain s tatues w hen v iewed f rom t he f ront ; t he s tatue o f legieia ' f rom E pidaurus ( 1st h alf o f t he 4 th c entury B .C . ) i s j ust o ne e xample .1 3

I t w as ,

i n f act , a f airly c onventional p osture , u nusual

o nly i n i ts b eing p resented w ith s uch d irect f rontality ; t his f actor m ay i tself g ive a n i ntimation t hat t he p rototype f or t he D omus A urea d esign , p erhaps

a p ainting

r ather

t han a s culpture ,

m ight

l ate c reation , w hether a l ate H ellenistic o riginal ,

h ave

b een a r elatively

o r aR oman p astiche .1 4

T he m ore c omplete c opies o r a daptations f all i nto t hree d ivisions .

T he

f irst c omprises s cenes w ith A thena a t t he l eft e nd o f t hree l enos s arcophagi ( XVI a , e arlier 3 rd c entury A .D .; X IX a ; f ig . 6 , a nd X X a , f ig . 5 , m id t o l ater

3 rd

e xactly ;

c entury

m irror i mage . t oo ,

A .D .) .

T hese

r eproduce

e lements

o f

t he

d esign

m ost

t he g oddess m aintains t he s ame b ody p osture a s i n 2 b ut s een i n H owever ,

i n X IX a , a nd a lmost c ertainly i n t he d amaged X VI a

a lthough t he r eclining s pring n ymph h as b een t ransferred f rom l eft

r ight,

c arrying t hrough t he l ateral i nversion ,

f lutes

r etain

t he

s ame

o rientation a s

i n

t o

A thena 's a rms s upporting t he 2 .

I n

X IX a t he

s tanding

p ersonification o f 2w ith a d raped f ore-arm h as a lso b een t ransferred f rom l eft t o r ight , b ut i s n ow t ranslated i nto a m ale d eity . W hile X VI a g ives a n amplified v ersion o f t he b asic f ormula, w ith two s pring n ymphs a nd a pparently a lso a f ull-length f igure o f M arsyas p erched o n a l edge a t l eft, X IX a a pproximates most c losely t o t he D omus A urea d esign ; p resents t he s cheme r educed t o t he m imimum p ossible , h er

o wl,

a nd

i ndications

o f

a l andscape

s etting .

t he X X a

s howing o nly A thena , T his

p rogressive

s implification i s p aralleled i n o ther s cenes o f t he t hree s arcophagi . T he s econd g roup o f s cenes a re s till c learly r eliant u pon t he s ame p rototype d esign ; t hey a re d istinguished p rimarily b y t heir a daptation o f t he d ominant A thena-type t o s how t he g oddess n ow a ctively b lowing t he f lutes, a lthough h er l ower b ody maintains t he s ame s triking p osture a s b efore .

T his v ariation f irst a ppears u pon g arland s arcophagus X a ( A .D .

- 1 70/80) , t he

1 50

t he e arliest p reserved s arcophagus r elief t o p ortray A thena w ith

f lutes .

H er

l eft

f oot i s s et u p a bove t he p rojecting r elief g round-

l ine , w hich i s o verlapped b y h er e xtended r ight f oot .

S he b lows v igorously

( the f lutes a re b roken away) a nd h er u pper b ody i s t urned t owards t he s pectator 's r ight,

w here a s pring g ushes f rom b eneath a r ocky o utcrop .

P erched a bove t his i s a s mall f igure o f C ybele ; h er p resence may h ave b een i ntended t o i dentify t he l andscape r epresented a s P hrygia , o r p erhaps m ay h ave b een a r eference t o t he s pecial s tatus o f f lute music i n t he c ult o f C ybele .1 5 p eers

o ut

B elow, t he r eflection o f A thena 's f ace, f rom

t he

s pring

w aters ;

M arsyas

d oes

n ot

r endered i n r elief, a ppear i n t he s cene .

T he k ey e lement o f t his a daptation , t hat A thena n ow b lows t he f lutes i nstead o f m erely h olding t hem , e vocation

o f

w hen t aken i n c onjunction w ith t he f airly e xtensive

a l andscape

o ther g arland-sarcophagi) ,

s etting

( admittedly

c haracteristic

o f

s cenes

o n

m ay s uggest s ome d egree o f c ontamination b y t he

p ictorial l andscape t radition s een i n 1a nd I . T here i s s ome e vidence t hat t he a djacent d ivided p unishment s cene ( X b /c) o n t he s arcophagus a lso m akes u se o f m otifs e mployed p reviously i n R oman p aintings . T his

d eveloped A thena-formula c ombining a spects o f two s eparate

t raditions may h ave b een a ccomplished w ithin t he milieu o f s arcophagus

w orkshops

-w here

t wo f urther e xamples

t he R oman

( below) d emonstrate i t

c ontinued i n u se a t l east u ntil t he e nd o f t he 2 nd c entury A .D .

I f s o ,

t he

v irtual d uplication o f a m ajor s ection o f t he c omposition o f X a i n a 4 th c entury m osaic f rom K eynsham ( 3 , f ig . 8 ) d iscloses t he m osaicist t o h ave h ad

2 1

a ccess

t o

s ome

o f

t he

s ame

s pecific

r epertoire

o f

d esigns

a s

t he c arver .

T he p henomenon h as b een n oted b efore i n c onnection w ith t he r epresentation o f o ther s ubjects , a nd t his i s n ot t he o nly M arsyas m osaic t o e xhibit s uch a s imilarity , b ut p robably i t i s t he m ost c lear-cut e xample .1 6

I n t he m osaic

A thena a nd h er p osition r elative t o t he f lowing s pring , w ith i ts r eflection o f h er f ace , a re a s o n t he r elief . A lthough i n 3t he t op t hird o f h er b ody i s d estroyed , t he r emainder c onfirms h er p ose , a nd t he f lute-tips e merging f rom t he m outh o f h er i nstrument . H owever ,

r eflected f ace e stablish t hat s he s till p layed t he l andscape d etail h as b een s uppressed i n t he m osaic

a nd t he r ock f ormation i s s ubstituted b y a n ymph w ith a p itcher f rom w hich t he s pring n ow f lows . S cenes o n t wo s arcophagi s lightly l ater t han X f eature t he s ame m odified f igure-type o f A thena, b ut a pplied i n mirror i mage, w hich r estores t he f igure n ow , a ,

t o

i ts

o riginal

o f c ourse ,

o rientation i n t he D omus A urea p ainting - a lthough

t he f lutes a re p layed a nd n ot j ust h eld a t

t he r eady ( XIII

l ate 2 nd c entury A .D .?; d amaged a nd l ost; f ig . 5 4; X V a , A .D . 2 00-210,

f ig .

5 5) .

p rototype l eft ,

T he i s

i mpression o f

e nhanced

b elow A thena ,

b y

t he

a p artial p resence

o f

r eversion a r iver

t o

t he

D omus

r eplacing t he n aturalistic s pring o f Xa .

o f t his c haracter h as b een s witched t o s till h e p erforms t he r ole o f c onfidant

A urea

d eity r eclining a t

t he

T he g ender

g ive a m ale p ersonification , b ut t o A thena t aken b y t he s imilarly

p laced n ymph i n t he p ainting ; i n t he d rawing o f X III h e c an b e s een e xtending h is l eft a rm t o A thena t o w arn h er o f h er d isfigurement , l ike t he n ymph ;

o n X V a n u nconcerned-looking r iver d eity m akes o nly a s light g esture

i n A thena 's d irection .

O n X V M arsyas p eers a t A thena o ver a l edge o n t he

l eft, w hich c uts h im o ff f rom v iew b elow w aist l evel ; o n t he l edge t o e ither s ide o f h im i s as mall t ree;

a s imilar t ree a ppears a t t he r ight o f a n

e quivalent l edge o n X III , o n w hich a n o x i s d epicted a s s tanding . T here i s n o s ign o f M arsyas, a nd t here s eems l itle c hance e ven o f ah alf-figure a s o n X V c ould h ave b een a ccommodated i n t he s mall r emaining a rea . c onceivably b e a s purious r estorer o f t he t ime ,

a ddition b y

t he

T he o x m ay

1 6th c entury d raughtsman ,

o r a

t o f ill t he g ap l eft b y ab roken-off M arsyas f igure .

A t hird l oose c ategory o f l ess h omogeneous a nd l argely u nconnected w orks f eature v arious c onfigurations o f a s eparate a nd u nrelated A thena-type , g enerally i n c ombination w ith o ther c ompositional e lements w hich h ad a lready a ppeared e lsewhere. T he

Marsyas-Athena e pisode

o n s arcophagus X VIII ( A .D . 2 20-230) w orks

w ith many o f t he s ame c omponents a s X VI a nd X IX f rom t he s econd g roup , b ut d eparts f rom t he m ore w idely a pplied p attern i n t he t ype o f f igure c hosen t o r epresent

A thena .

S he s its w ith l egs a nd b ody d irected t o t he l eft,

a way

f rom t he p air o f s pring-deities l ocated o n t he r ight, o ne s tanding a nd t he o ther r eclining a nd l ooking u p a t h er , a s o n X IX . B y t he i ntroduction o f a n

e lement

o f

c ontrapposto ,

A thena 's

f ace

i s

b rought

r ound

t o

e ngage

t he

g aze o f t he r eclining n ymph , m aintaining t he i mplied c ommunication b etween t hem . A lthough A thena 's f lutes a re b roken a way , t he p osition o f h er a rms i ndicates t hat s he h eld t he f lutes,

b ut d id n ot p lay t hem .

A bove h er i s a

c ompressed f ull-length f igure o f M arsyas .1 7 A n u npublished mosaic f rom K elibia ( 4, p robably 4 th c entury A .D .) i ncludes a s imilar A thena , a gain l ocated t owards t he l eft a nd l ooking b ack a t a r eclining r iver d eity , m ale t his t ime ; h alf h idden , M arsyas p eers o ver a r ock . A ll t hese f eatures a re f amiliar f rom s arcophagi, a lthough a s c ombined h ere

t hey d o n ot

r eproduce

e xactly a ny k nown d esign .

T he w ork

c ould e asily b e a n o riginal p roduction b ased u pon a r e-arrangement o f

2 2

i nherited s tock c omponents. T he A pamean c oin t ype 6 ( struck i n t he t ime o f S eptimius S everus) , w ith M arsyas o verlooking t he f luting A thena , s tands o ut a s a n i ntrusion i nto a l ong s uccession o f P hrygian c oinage w ith l ittle t raditional r eference t o t he m ainstream i conography o f t he m yth . A s i t a ppears a t a round t he t ime o f s imilar d epictions o n R oman s arcophagi , i t m ay b e a l ocal r esponse t o t he p rominence t he e pisode w as r eceiving e lsewhere , r ather t han a r eflection o f a n i ndividual w ork o f a rt e xisting i n t he r egion , c reated t here o r i mported , a lthough t his r emains a p ossibility . B ut u ltimately , a s w ith t he K elibia m osaic , t here i s n o r eason t o a ssume f rom t he d etail o f t he c omposition t hat t he c oin r enders m ore t han a n a ssemblage o f s eparate e lements a ssociated w ith t he v isual t radition f or t he e pisode : a s pying M arsyas , f lute-playing A thena a nd r elevant l andscape s cenery - w ater a nd r ocks . S uperficially t he e xtreme c ontrapposto o f A thena, v irtually p resenting t wo o pposing p rofiles f or u pper a nd l ower b ody, r esembles h er p ose i n t he p receding w orks, b ut t he s imilarity c ould b e f ortuitous. T he s ame i s p robably t rue f or t he A thena w ho s its i solated w ithin a n a edicula , p art o f a c omprehensive c yclic p rogramme i n t he C asa d 'Apolline ( III , V espasianic?) ,

w hich i s e nacted

b efore a n e laborate a rchitectural

b ackdrop i n t he f orm o f a t heatrical s caenae f rons .

S he b lows t he f lutes

o ver a m irror o r b owl o n t he g round a longside h er r ocky s eat ;

h er t urning

p ose s eems t o h ave a rrived a s a s olution t o t he r estriction i mposed b y t he t all n arrow s pace b etween t he f lanking c olumns o f t he a rchitectural f ramework , f or o nly t hus c ould s he l ook d irectly d own a t t he t he r eflective s urface b eneath h er . T he s ubstitution o f a m irror o r b owl f or t he s pring r ecalls t he m irror h eld u p f or A thena i n A 5 a nd I , b ut n o s pecific c onnection n eed b e i nferred , s ince t he d evice i s p articularly a ppropriate t o a t heatrical s etting . H owever , i ts i nclusion , e ven a t t he e xpense o f s ome a wkwardness , d oes u nderline t he i mportance p laced u pon A thena v iewing h er r eflection a s a n e lement i n t he n arrative , a bove t he s imple f act o f h er t raditional l ink w ith t he f lutes . O therwise t he ' mirror ' c ould h ave b een d ispensed w ith a ltogether ; w ithin t he o verall s cheme , w here A thena b alances M arsyas s tanding w ith t he f lutes i n a s imilar a edicula , i t w ould h ave m ade b etter s ense t o d o s o i n s imple c ompositional t erms. T here i s n o i ntimation i n t he w ay t hat A thena w as p ortrayed h ere t hat t he p ainter w as a ware o f t he i nfluential p rototype t hat s eems t o h ave i nspired t he D omus A urea p ainting - p robably s ome t ime d uring t he p receding d ecade - a nd w hich w as t o s timulate n umerous s ubsequent v ariations . T hat t he r enown o f t his s eminal w ork m ay n ot y et h ave r eached p rovincial P ompeii l ends w eight t o t he s uggestion t hat t he D omus A urea p rototype may o nly l ately h ave b een c reated o r i mported , a nd t hat i ts i nfluence s o f ar w as c onfined t o R ome.

1 8

T wo f urther w orks b elieved t o h ave d epicted A thena w ith t he f lutes a re i ncluded i n t he C atalogue , b ut t hey c an o nly b e r elated t entatively t o o ther r epresentations o f t he e pisode . A d escription o f t he l ost s arcophagus f ragment 5 r ecords M arsyas w atching A thena, w ho h eld t he f lutes, a nd s uggests Jspring n ymph may a lso h ave b een p resent . O f t he s urviving s cenes o n s arcophagi , a ll p art o f c ycles , t he c losest a re X VIII a a nd p ossibly t he d amaged X VI a .

t o

t his

d escription

T he l eft h and e nd o f a f ragmentary s arcophagus X IV a ( late 2 nd t o e arly 3 rd c entury A .D .) p reserves f rom i ts A thena-scene o nly t he t orso o f a r eclining r iver g od ,

f acing t owards

t he l eft

2 3

w here A thena m ust

o nce h ave

b een l ocated , a nd a bove h im , a n u pturned f lowing p itcher w hich p resumably b elonged t o a f urther s pring p ersonification . T he p osition o f t he r eclining d eity ( although n ot h is g ender) a nd a lso t he p resence o f a s econd p ersonification l ink t his s cene w ith i ts e quivalent o n X VIII, p erhaps X VI .

X IX a nd

T he p rincipal f ocus o f R oman a rtists ' a pproach t o t he i nitial p hase o f t he m yth i s n ot s imply ' Athena w ith t he f lutes ' .

t he

f lutes ' ,

b ut

' why A thena r ejected

I t i s a c onstant f actor t hat A thena must b e u nderstood

d irectly t o c onsult h er r eflection .

T his m ust b e i mplied b y a w ater-side

s etting , t he i ntervention o f a s pring o r r iver d eity , o r u se o f a m irror . A part f rom t he t wo v ariant s cenes b elow , o nly X X af ails t o m ake t his p oint c lear , a nd t hat i s ac ursorily e xecuted b ut p recise d erivative o f t he s cheme r ecorded i n t he D omus A urea p ainting , w here t he i ntention w as m anifest . A ttention i s c oncentrated u pon a c rucial m oment w ithin t he n arrative w hich r enders

i nevitable w hat

f ollows,

a nd

e stablishes

a m oral

c ontent

s cene t hrough A thena 's j udgement a nd r ejection o f t he i nstrument .

f or

t he

W ith t his

e mphasis i t i s p erhaps h ardly s urprising t hat t he i nclusion o f M arsyas w as n ot c onsidered e ssential , r egardless o f w hether t he s cene w as t o f orm p art o f a M arsyas c ycle . T he q uestion o f h is p resence w ould s eem t o h ave b een s ettled q uite a rbitrarily a s am atter o f a esthetic t aste. I f m odel ,

t he D omus A urea

p ainting

w as

t hen M arsyas

u nlikely

t o h ave

i s

a f airly

a ccurate

r eflection

b een f eatured

a bsent f rom t wo o f t he s cenes m ost c losely r eliant

t here .

o n t he

H e

s ame

o f i s

i ts a lso

p rototype

d esign , X IX a a nd X X a ; b ut i n t he t hird , X VI a , r emaining t races s uggest h e a ppeared a s af ull-length f igure l eaning o ver a r ocky l edge . W e h ave s een t hat i n t he t wo e arliest s urviving R oman w orks t reating t he t heme , 1a nd I , M arsyas w as a lso s hown f ull-length , d eriving u ltimately f rom G reek o r S outh I talian t radition .

P erhaps t he c arvers o f X VI ,

a nd X VIII ,

t he l ast R oman

work k noWn t o h ave made u se o f a f ull-length M arsyas i n t his c ontext, i ntended t o r ecall t hat t radition ; f or t his w as c ertainly a f ormula b etter s uited

t o

t he

l ess

c ramped

c onfines

o f

a l andscape

c omposition .

A m ore

s uccessful a lternative a pproach w as a dopted o n s arcophagus X V , w here M arsyas i s o nly v isible f rom t he w aist u pwards a bove t he r ocky l edge b ehind w hich , i t i s i mplied ,

h e i s h iding .

A t o nce t his r educes t he a mount o f s pace t he

f igure o f M arsyas r equires a nd u nderscores t he f act o f h is c oncealment . E vidently t his s olution b ecame a ssimilated i nto t he s tandard M arsyas i conography , s ince i t w as a pplied i n a t l east t hree f urther w orks : t he c oin 6 a nd t he A frican m osaics 4 a nd V II .1 9 A t s ome p oint t he t ransition must h ave b een m ade b etween t he f ull-length M arsyas o f

t radition a nd t he h alf-figure f ound h ere .

W e d o n ot k now t he

m otif f rom a ny R oman w ork b efore t he f irst a ppearances c ited h ere , X III a ? a nd X V a ,

t hat i s,

d ating

t he A lexandrian k antharos A 79

o f

a round t he e nd o f t he 2 nd c entury A .D .

B ut i f

t o t he 3 rd t o 2 nd c entury B .C .

t he i s

s ecure , t his i mplies a s eparate H ellenistic t radition w hich e mployed a h alff igure o f M arsyas p eering o ver a r ock t o s py o n A thena .

S ome a spects o f

t he d esign o n t he k antharos a re f amilar - t he t rees s uggestive o f a l andscape s etting a nd t he s pring n ymph t urning t o f ace t he f luting g oddess . B ut b y c ontrast w ith t he R oman c onvention , A thena i s s hown s tanding , r ather t han

s eated .2 °

T o e stablish s ome f orm o f l ineage f or t he motif o f t he h alf-figure v oyeuristic M arsyas w ithin t he M arsyas

t radition i s o ne t hing ,

t o a ccount

f or i ts a ppearance t here q uite a nother . T he m ost o bvious p arallel f or h alf-figures o f t his t ype c omes i n r epresentations o f A cteon s pying u pon t he

2 4

b athing D iana, a lthough n o s urviving work with t his t heme p redates t he s eries o f P ompeian p aintings

i n w hich P .H .

o f a l ost H ellenistic o riginal .2 1 a nd A cteon w ith D iana ,

v on B lanckenhagen s aw e vidence

T he t wo e ncounters, M arsyas w ith A thena

a re a nalogous:

i n e ach a h ubristic m ale o bserves

g oddess w hile s he i s a t a d isadvantage ,

a

o ne t hrough e xposure a s s he b athes,

t he o ther t hrough e mbarrassing d isfigurement a s s he b lows t he f lutes ; t he r ustic a nd a quatic s etting i s t he s ame . S ome d egree o f c ommon i conographic d evelopment i s n ot s urprising : ( ca .

A .D .

3 5-45)

c ompositional f rom V 2 ,

a ppears

f ormula o f

s o t he A cteon p ainting f rom P ompeii

t o

t he

t ake

o ver

e arlier

wholesale

t he

c ontinuous n arrative

I 9 ,

5

s ophisticated M arsyas

p icture

9 -12 ( here I ) d own t o t he p osition a nd p osture o f s ome o f t he

f igures .2 2

P urely i n t he c ontext o f t he r ecorded mythology ,

t he i dea o f a

p artially h idden f igure i s m ore a ppropriate t o t he s tory o f A cteon . T here i s n o i mplication i n a ny s urviving mythological v ersion t hat M arsyas c ame u pon A thena u nawares,

a s

A cteon i s

s upposed

a ccording t o O vid a nd C allimachus. 23 k antharos

may d ocument a s tage

i n

t o h ave d one

T his b eing s o,

w ith D iana

t he A lexandrian

t he e volution o f M arsyas-iconography

r eflecting a c ontamination b y t hat o f t he A cteon m yth . T he t ransformation o f M arsyas i nto a v oyeuristic f igure s tyled a fter A cteon c ould b e s een a s a r ationalisation o f s phere o s

t he

o f a ttention ,

s urprise ,

t endency

t o

d istance h im

p hysically

f rom

t he m ain

a nd o f t he s atyr 's c onventionalised M yronian a ttitude

f or w hich t he l ogical

j ustification h ad d isappeared o nce

t he

d irect c onfrontation w ith A thena h ad b een l ost . T wo R oman c ycles c ontain M arsyas-Athena s cenes e ntirely d ifferent f rom t hose s urveyed s o f ar .

N either c an b e c learly r elated t o t he o ther ,

a ny o ther e xtant R oman M arsyas a nd A thena c omposition . p roblematic,

s tucco r elief

I V a ( ca .

A .D .

2 5),

o r t o

T he f irst a nd m ost

a ccompanies

t wo s cenes

c onnected w ith t he p unishment o f M arsyas, p art o f a n e xtensive s eries o f m ythological a nd q uasi-religious s cenes d ecorating t he v aults o f t he s oc alled ' Underground B asilica ' a t P orta M aggiore . ( b , c ) e mploy d esigns f ound e lsewhere , t o b e u nique . 24

T he t wo c ompanion s cenes

b ut t he M arsyas-Athena g roup a ppears

T he d ifficulty l ies i n t he c ombination o f t he t wo f igures :

a p assive, a lmost d isinterested Marsyas s its f acing a majestic f emale f igure ; a lthough s he s tands i n t he p ose o f t he M yronian s tatue o f A thena , s he p ossesses n one o f A thena 's c haracteristic a ttributes . N o f lutes a re v isible a t a ll, a lthough t his m ight s imply b e a n a ccident o f s urvival , a s t he s cenes a re r ather d amaged . T he most p robable e xplanation o f t his u nhappy j uxtaposition i s t hat t he f igures w ere s elected a nd c ombined s olely t o c omplement t he t wo-figure g roup ( b) w ith w hich t hey s hare a f ramed p anel , a s eated A pollo

i n c onversation w ith a s tanding

M use ,

a nd

s o b alance

t he

f ramed f our-figure p unishment s cene ( c) l ocated d irectly o pposite . T he l ack o f a ny c oherent i nternal r ationale f or t he s cene a nd t he a bsence o f p arallels e lsewhere t end t o c onfirm t hat i t w as c oncocted a s a ' filler ' f or t his p articular d ecorative s cheme . T he

s arcophagus

o n

w hich

t he

s econd

v ariant

s cene

a ppears

( XI a ,

c a .

A .D . 1 50-170/80) a lmost c ertainly r epresents s ome k ind o f c ompilation o f a n u nusual r epertoire o f M arsyas s cenes, a nd i t w ill b e d iscussed i n t hese t erms i n t he s ection d ealing w ith t he b ody o f c yclic w orks a s a w hole . a n

i ndividual

s cene X I a r ecalls

A s

q uite f aithfully a m inor C entral I talian

t radition w hich p laced M arsyas i n am ore p eaceable r elationship w ith A thena . T his c an b e t raced n ow t hrough o nly two w orks.

I n a n E truscan mirror

e ngraving ( A6, p robably l ate 4 th c entury B .C .) a w inged A thena, s pear i n h and , s its f acing t he b eardless M arsyas w ho s tands c almly b efore h er , f lutes h eld i n o ne h and a t h is s ide .

A f ine l ate H ellenistic r elief ( A8) t akes u p

t he t heme ; i ntrinsically t he f igures a re s imilar , b ut r e-arranged a nd s ubtly

2 5

a ltered i n a m anner w hich g ives m ore d ramatic p oint t o t he s cene : A thena ( wingless) h as h er b ack t o M arsyas , w ho n ow h olds a f lute i n e ach h and a nd t urns t owards h er ; s he e xtends h er r ight h and t owards h im p ast h er s houlder -s he m ay b e w arning h im , o r e xpressing h er d isapproval o f t he f lutes . T he f igures h ave a r estless q uality , b ut s till t here i s n o s ense o f a ny v igorous i nteraction i n t he M yronian f ashion .2 5 T he u ninspired v ersion o f t he s cene o n X I i s a ltogether more s tatic, b ut t he i ncident d epicted i s s till r ecognisably t he s ame, a nd i s u nlikely t o h ave b een c reated r eference t o s ome v isual r ecord o f t he e arlier d esign-convention . T he

i nfluence

o f

c ontemporary a ccounts

o f

t he

w ithout

l iterary-dramatic

t radition m ay h elp t o e xplain t he c ontinuing a dherence o f R oman a rtists t o t he p rincipal o f A thena 's r ejection o f t he f lutes u pon s eeing h er d istorted f ace r elected i n ar iver o r s tream . T his was a k ey f eature o f t he 5 th c entury B .C . d ramatic f rament p reserved b y P lutarch ( de c ohib . i ra 4 56 B ) , O vid c ites t he i ncident t wice ( Ars . A m . I II , 5 05 f f . a nd F asti V I , 6 96 f f .) , a nd P ropertius ( II, 3 0, 1 7) a nd H yginus ( Fabula C LXV) a lso t ackled t he t heme . E ven s o , n o Marsyas-Athena s cene s tands o ut a s a d irect i llustration o f a ny s urviving l iterary s ource, a nd t he i mpression o f c onformity i n a rtists ' a pproach t o t he e pisode w as d ue r ather t o t he m ore o r l ess - i maginitive r e-working o f a f airly l imited s et o f e stablished v isual f orms .

2 6

C hapter 3 T HE C ONTEST W ITH A POLLO

T he c onsiderable n umber o f A ttic a nd I talian v ase p aintings b earing s cenes o f t he musical c ontest b etween A pollo a nd M arsyas l eave l ittle d oubt t hat t his w as a p opular t heme p rior t o t he R oman e ra .'

B ut t he d iversity o f

t hese s cenes, i n t he r ange o f c ompositions a ttempted a nd t he v ariety o f i nterpretations o f t he b asic s tory-line , i mplies t hat t here w as n o s ingle d ominant a pproach i n t he m ajor a rts , c ertainly d uring t he p eriod t he v ase p aintings c over . T he o nly k nown G reek w ork o f a ny r elative i mportance i n i ts o wn r ight t o f eature t he c ontest i s t he s o-called Traxitelean ' s tatueb ase

f rom

M antinea ( A24 ,

t he s ole w ork w ith t his

c a .

3 rd

s ubject

q uarter

4 th

r ecorded

i n

c entury B .C .) . s urviving

T his

l iterature :

i s

a lso

i t

w as

m entioned i n p assing b y P ausanias .2 Y et i t c an h ardly b e t ermed a m ajor work i n t he s ense o f Myron 's g roup o r, b y r eputation a t l east, t he l ost M arsyas r eligatus o f Z euxis . S till , a s s ome i llustrations o f t he c ontest i n G reek v ase-painting a nd o ther media s hare c ompositional s chemes a nd f igure-groupings w ith c ertain R oman w orks, w e must a ssume a f ew i ndividual c ompositions

w ere

d istinguished

c onventional f ormulae ,

e nough

t o

e stablish

a s election

o f

a lthough i t i s n ot c lear b y w hat t ransmission r oute

t he d esigns w ere m ade a ccessible t o l ater a rtists. A s econdary

f actor

i n t he v aried

c haracter o f

t he

i conography o f

t he

c ompetition b etween A pollo a nd M arsyas s tems f rom t he c ompletely i ndependent a ppearances -of f lute p laying s atyrs a nd t he musician-Apollo w ith h is l yre o r c ithara a s s tandard m otifs i n t he mythological v isual r epertoire , c onceived o utside a ny a ssociation w ith t he s tory o f M arsyas .

T hey p rovided a c ommon

r eservoir o f f igures w hose d iversity m ay h ave r educed a ny t endency t o r ely u pon s tock c ompositions a s aw hole : a r epresentation o f t he musical c ontest c ould e asily b e s ynthesised f rom a lready f amiliar c omponents. T he p rofusion a ccount

o f

a vailable

f or s uperficial

t ypes

a nd

t heir

d ifferences

e clectic a pplication

a mongst

w orks

i s

o therwise

l ikely

t o

f undamentally

c onnected ,

a nd c onversely f or s uperficial r esemblances w hich may s ignify n o

m ore

r e-use

t han

o r a s tock

f igure-type .

D espite

t his

r eservation ,

t he

c ontext o f t he o riginal u se o f s ubsequent a ppearances o f a f igure-type must, o n o ccasion , f igures

h ave g overned i ts r e-use ,

u sed

may s till y ield

s ome

a nd s o i n s ome c ases e vidence

o f

t he

t he i ndividual

t ransmission o f a

p articular s trand o f t he i conographic t radition . L ess h eterogeneous t han t heir G reek a ntecedents, t he R oman c ontest s cenes c an b e d ivided i nto f our b road c lassifications . T he f irst c omprises a moderately l imited r ange o f s traightforward c onfrontations o f t he t wo musicians, a dditional

s eldom a ccompanied, a nd i f s o, t hen b y o ne o r a t most two f igures . I n t he s econd we s ee p rogressive s tages o f t he

e volution d uring

t he

R oman p eriod

o f

a multi-figured

f rieze

c omposition ,

w hich a ppears t o b e d erived i n s ome d etail f rom a p rototype o riginating a t l east f rom a round t he l ate 4 th c entury B .C . T he t hird c ategory i s m ade u p o f v ariant w orks , g enerally r educed i n s cope, b ut l argely b ased u pon s ome k nowledge o f t he p receding f rieze d esign . T he f inal g roup r elates t o t he d efeat

o f

p re-Roman

M arsyas ,

o n t he

i conography .

I t

e vidence o f v ase-painting a m ajor t heme i n t he i ncludes

a n e xceptional

s eries

o f

d istinctive

f igure-types o f M arsyas, a pparently a dapted f rom a nd r elated t o t his e arlier

2 7

t radition . A pollo ,

M arsyas

a nd

A thena

a re

g rossly

r epresented

dwarves i n t he P ompeian wall-painting 7 ( ca . a ccompanied b y o ther mythological g roupings,

4 0 B .C .),

a s

m acrocephalic

where t hey a re

t he c haracters b eing s imilarly

d eformed . F orming a s elf-contained g roup w ithin a n arrow f rieze , t he t hree f igures a ppear a gainst a f aint b ackground o f b uildings, r ather t han t he m ore c ommon l andscape .

O nly t he u pper two-thirds o f

t he f rieze s trip

i s

p reserved i n t his s ection, b ut e nough r emains t o s how t hat A thena was s tanding a bove a nd b etween t he two a dversaries, who c an o nly h ave b een s eated ,

s uch i s t he r estricted h eight o f t he p ictorial f ield .

I n t he p re-

R oman t radition r ecorded u pon A ttic a nd S outh I talian v ases, M arsyas i s d epicted s eated f ar more f requently t han s tanding a t t he c ontest, w hilst o f t he f airly n umerous R oman c ontest s cenes, o nly t his a nd o ne o ther w ork , a lso a P ompeian p ainting ( 8) ,

a re k nown t o h ave e mployed a s eated M arsyas .3

I t

may b e t hat w e f ind h ere a n i solated r ecollection o f t hat e arlier c onvention . C ertainly 7 r eproduces q uite c losely t he n uclear a rrangement o f f igures s een u pon t wo A ttic v ase-paintings ( A19, A 36, b eginning 4 th c entury B .C .), where Marsyas s its t o t he l eft w ith t he f lutes, A pollo, s tanding a dmittedly ,

i s a t t he r ight h olding a l aurel b ranch ,

a nd A thena i s

s et b etween t he t wo , h er r ight h and e xtended t owards M arsyas .

T here i s n o

e xplicit i ndication i n t he v ase-paintings t hat A thena may b e a cting i n j udgement u pon t he c ontest; more l ikely s he i s p resent a s a n a lly o f M arsyas . B ut e ven i f t he p ainter o f 7d id a ppropriate t his g rouping f rom a n e arlier

t radition - h owever h e

b ecame a cquainted w ith t he d esign - t he

i mplication o f h is r e-interpretation i s t hat A thena i s n ow p residing o ver t he t wo c ompetitors . T he o nly s urviving m ythological v ersion w hich m ight s erve

t o

j ustify

I II,

c .a . A .D .

w hat

i s,

s uch a t reatment

1 55) .

a fter a ll ,

i nscriptions

c omes

l ater ,

i n A puleius '

F lorides

( no .

While i t may b e wrong t o p lace t oo much weight o n a l ight-hearted

p arody ,

t he

a ddition o f

G reek

t itle-

t o t wo o f t he a ccompanying s cenes m ust h ave b een i ntended t o

i nvoke a G reek p edigree ,

t hough t his m ay h ave b een n o m ore t han a p ainter 's

c onceit. F rom w hat r emains o f M arsyas i t i s p ossible t o r ecognise a d istinctive p ose : h e h olds o ne f lute o ut b efore h im w hile h e b lows i nto t he s econd . H e s its a nd p erforms i n t he s ame d esultory f ashion i n t he c ontest s cene 8 a ( Fourth S tyle) ,

a c omposition w hich d iffers

v astly

i n

o ther

r espects ;

h e

a ppears s imilarly i n t he P ompeian M arsyas-Olympos p ainting 7 6 . L ocally , t his s eems t o h ave b een a f igure-type w hich b ecame a ssociated w ith M arsyas i ndependently o f a ny m ore c omplete c ompositional s cheme. L eaving a side I f or t he moment,

a lready n oted a s a n i diosyncratic

p ainting a nd d iscussed s eparately b elow , t he f our r emaining P ompeian w orks d ealing w ith t he c ontest i n s ome w ay d isplace t he c ompetitors f rom a ny i mmediate c onfrontation ,

e ither b y d eploying t hem i n p endant-panels

( 8 ,

9 ,

1 0) o r i n i ndividual n iches within d ecorative a rchitecture ( III) . T he c apacity o f t he t wo f igures t o s tand a lone a nd t heir c omplementary n ature a re r elied u pon t o m ake c lear t he c ontext. T he t hat i n

s eated

M arsyas

o f 8 d oes n ot r eproduce t he p recise o rientation o f

7 , a nd t here i s n o o ther d irect p oint o f s imilarity t o s uggest a ny

l ink b etween t he

t wo

e xamples .

I n 8 h e i s p resented

i n a c haracteristic

P ompeian w ay , a s p art o f ac omposition d ispersed w ithin a d ecorative s cheme , o ne o f ap air o f m atching p aintings .

T he c ompanion p ainting , n ow d estroyed ,

s howed A pollo w ith h is c ithara s upported a longside,

a s tandard t ype .

W hile t he t wo f igures h ave t he a ppearance o f h aving b een q uite a rbitrarily

2 8

c ombined, t he o verall e ffect o f t he t wo p anels i s u nified b y t he r ocky l andscape b ackground c ommon t o b oth , i n e ach c ase g raced b y a p rominent t ree. O pen t o t he e lements , t he t wo p endant-panels 9 a a nd 9 b ( Fourth S tyle , f igs .

9 -10) h ave s eriously d eteriorated ,

b ut t hey w ere r ecorded i n 1 867 i n

d etailed d rawings . B oth i n c omposition a nd e xecution t hey a ppear t o h ave b een r ather more s ophisticated t han 8 a a nd b . B ecause e ach o f t he c ontestants

i s

s hown s tanding

t o p lay ,

t he

t wo p aintings a re b etter

b alanced . T he s pecific c haracters o f M arsyas a nd A pollo a re a mplified b y a dded d etail w ithin t he p ictures; M arsyas i s a ccompanied b y h is p upil O lympos, a nd t he d iscarded p edum a nd a nimal s kin a re a r eminder o f h is r ustic n ature ; t he s erpent-entwined o mphalos b eside A pollo a lludes t o h is d ivine a ccomplishments . O nce m ore a l andscape b ackground , h ere p artially s creened b y a l ow w all w hich i ntrudes i nto e ach p icture , i s u sed t o u nite t he t wo i ndividual p anels . W e d o n ot k now t he p recise s patial r elationship o f t he t wo p anels 8 a a nd b , b ut t he A pollo a nd M arsyas o f 9aa nd b , s till l ocated i n s itu , f ace e ach o ther a cross t he r oom , d ramatically i nvolving r eal s pace i n t heir c onfrontation . T he t wo p anels o f 1 0 ( Fourth S tyle , p lates 1 0-12) a re m erely e mployed d ecoratively , a s b alancing e lements s et o n e ither s ide o f a l arger s acrali dyllic l andscape p ainting . E ach o f t he m usicians , n ow s tepping f ree o f h is c ontaining f rame o nto t he p ainted c ornice, s eems t o r epresent a r elatively c lose b ut l ess s ubtle v ersion o f h is e quivalent i n 9 , p laced i nto an ew d ecorative c ontext . I t m ay e ven b e t hat t he A pollo a nd M arsyas o f 1 0 w ere e xecuted i n r esponse t o t he more a ccomplished d esign o f 9 , i f n ot a ctually a p roduct o f t he s ame w orkshop . T he c omplex d ecorative s cheme o f I II ( Vespansianic?) may b e a pproximately c ontemporary w ith t he p receding t hree w orks . A ll o f t he c haracters i n t his e nactment o f t he s tory o f Marsyas i nhabit t he r ich ' theatrical ' a rchitecture a s i f i t w ere a c omplete e nvironment . T he z one o ccupied b y t he f igures i s f airly s hallow i n d epth ,

b ut s patially c oherent .

P rincipals a ppear w ithin s elf-contained a ediculae , w hile m inor c haracters a nd a n a ssorted ' c lu me0 p eer o ver b alconies a nd e merge t hrough o pen d oors . M arsyas s teps o ut o f h is s ubsidiary n iche t o t he r ight o f A pollo h olding a f lute i n e ither h and , a lthough h e d oes n ot p lay . H e b alances t he f luting A thena l ocated t o t he l eft o f A pollo , b ut i s p lain f rom t he r eactions o f t he m inor c haracters c oncealed w ithin t he s cenery t hat i t i s t he c ontest w hich i s t he m ain f ocus o f t his a rea o f t he d ecoration . S tanding w ithin h is o wn s uperior a edicula , A pollo t urns t owards h is a dversary , w hile t he s pectators , a d istressed-looking O lympos a nd t wo s warthy f igures p robably t o b e i dentified a s s upporters o f M arsyas, e xhibit v arying d egrees o f c oncern . T hey a nticipate M arsyas l osing t he c ontest, i f h e h as n ot a lready d one s o. T here a re s ix f urther c ompact c ontest s cenes which o ppose s tanding f igures o f M arsyas a nd A pollo ; i n f ive o f t hem , a s i n I II , M arsyas n o l onger p lays h is f lutes . O n t he r eliefs 1 5 ( 2nd h alf i st c entury A .D . t o e arly H adrianic ) a nd 9 7 ( early I mperial?) ,

a nd g em 2 5 ( 1st - 2 nd c ntury A .D . ,

f ig .

7 ) , h e s imply h olds t hem o ne i n e ither h and . O n s arcophagus f ragment X VII ( earlier 3 rd c entury A .D . ) h e c lasps t hem t ogether , d iagonally a cross h is c hest , w hile h e h as n o i nstrument a t a ll o n t he r elief 1 8 ( Severan , f ig . 1 7) . O nly i n t he s ixth , l ost r elief 9 8 , d oes M arsyas c ontinue t o p lay . G iven t he n umber o f p ossible m odels f or M arsyas i n t he f orm o f f luteb lowing s atyrs , i t i s n ot i nconceivable t hat t his c onvention o f d epicting

2 9

h im s tanding w ithout p laying might r ecollect t he minor b ut p ersistent t radition a ttested b y f ive S outh I talian v ase-paintings, where M arsyas s tands b efore A pollo , h olding t he f lutes o ne i n e ither h and ( A21, A 25-27 , A 77) . Y et o nly i n A 27 d oes M arsyas c onfront a s tanding A pollo . H owever , t he n eo-Attic r elief 1 5 , w ith i ts c oldly e clectic c ombination o f t wo f ine b ut s tylistically u n-matched f igures o f A pollo a nd M arsyas , s uggests t hat t he r econstruction o f t his f ormula d uring t he e arlier I mperial p eriod m ay h ave b een f ortuitous , a nd n ot d ue t o t he r eproduction o f s ome e arlier d esign i n i ts e ntirety . P erhaps t he M arsyas o f I II , a s w ell a s o f 1 5 a nd t he f ollowing f our w orks, may o we s omething t o t he s culptural model o f a s tanding d espondent M arsyas p rovided b y t he l ost H ellenistic g roup A 88 , s een i n ar ange o f c opies a nd v ariations. 4 W hatever

t he o riginal

i nspiration ,

o nce e stablished i n t his f orm t he

i dea f ound s ome l imited d egree o f p opularity w ith R oman a rtists . O n 1 5 , f or a ll t heir p hysical p roximity , t he a loof A pollo a nd i ntrospective M arsyas b etray l ittle h int t hey a re aware o f e ach o ther 's e xistence ; o nly t he d evice o f ' mirroring ' t he o ff-set p osture o f t heir l ower l imbs s aves t he c omposition f rom f alling a part e ntirely . C onfined w ithin s eparate p anels o n c andelabrum b ase 9 7 , t he f igures o f A pollo a nd M arsyas , j oined b y H erakles i n t he t hrid p anel , a re o nce m ore s et i n i solation . I f v iewed a s a n e nsemble , t he p anels d o n ot r econstitute a s ingle u nified d esign ; r ather , t he f igures a ppear t o h ave b een s elected a nd a dapted s olely t o c omplement o ne a nother w ithin t heir i ndividual c ompartments .

H owever ,

t he d evice o f r epresenting t he h eads o f a ll t hree

f igures i n n ear o r f ull l eft p rofile i mparts a momentum c ontinuously f rom p anel t o p anel a round t he c andelabrum b ase .

t hat

r uns

A j uxtaposition o f M arsyas a nd A pollo s imilar t o t hat o n 1 5 f unctions m ore s uccessfully o n g em 2 5 , l argely b ecause h ere t heir h eads a re t urned t o f ace o ne a nother , A pollo 's

i mplying s ome c ommunication , a n i mpression r einforced b y

r ight-handed g esture

t owards h is

o pponent .

T he g esture

i s

r epeated b y t he A pollo o f 1 8 , a nd t his t ime i t i s c lear h e i s h olding o ut h is p lectron i n h is r ight h and , am otif f ound i n t he c ontext o f t he m usical c ompetition f rom

t he e arliest r epresentations i n t he 5 th c entury B .C .5

I t

m ay p erhaps b e s een a s ac ommand f rom A pollo f or M arsyas t o p lay o n , o r a s c onveying a n e lement o f t hreat, i n t hat t he f orm o f p lectron a nd f laying k nife a re d istinctly s imilar ; i ndeed i n f our S outh I talian v ase-paintings o f t he b ound M arsyas, A pollo d oes m enace t he s atyr w ith a f laying k nife .6 T he t wo d ramatic M uses b eneath t he c ontest s cene o f 1 8 s eem u naware o f t he a ction t aking p lace a bove , b ut a s econd p air o f M uses w ho p eer d own o ut o f t he e nveloping f oliage f rame a re t aking a l ively i nterest , o ver-reacting t o w hat i s i n e ffect a r ather d ull s cene , p erhaps i n a t a ttempt t o e nliven i t a nd a rouse s ome s ense o f d rama . T he o bvious s hortcomings o f t his i ntrinsically s tatic f ormula m ay h elp a ccount f or i ts f ailure t o g ain w ider a cceptance . T here i s n o s pecial a ttribute t o i dentify t he d isembodied h ead w hich a ppears b etween M arsyas a nd A pollo o n 1 8 ; i t m ay b e t hat N ike w as i ntended , a pproaching t o a ward v ictory t o A pollo . T his w as c ertainly t he s olution a dopted b y t he c arver o f X VII t o e xpand t he b asic f ormula , a nd h e w as a ble t o h eighten t he d rama s till f urther b y i ntroducing a p leading O lympos , u sually a ssociated w ith t he p unishment o f M arsyas . T he

d isposition

o f

M arsyas

a nd A pollo

w ithin

t he

s imple

t wo-figure

s cheme o f l ost r elief 9 8 , i n w hich b oth m usicians p layed t heir i nstruments w hile s tanding , i s m ost d irectly c omparable w ith t hat i n t he m ore e laborate

3 0

c omposition

o f

r elief

2 2

a nd,

p articularly,

l ate

3 rd

c entury

A .D .

s arcophagus r elief X XI c ( below) . T he c learest w ay t o e xamine t he e volution o f t he d ominant m any-figured v ersion o f t he c ontest i t t o l ook f irst a t

i ts m ost

f ully d eveloped s tate ,

a s i t a ppears o n s even M arsyas-sarcophagi ; t hese a re : 2 00 , f ig . 5 3) , X IV ( late 2 nd t o e arly 3 rd c entury A .D .) ,

X II ( AA/ 1 70/180 X V ( AA/ 2 00 - 2 10 ,

f ig . 5 5) , X VI ( earlier t hird c entury A . 11) , X VIII ( A . 11 2 20 - 2 30) , X IX ( mid t o l ater 3 rd c entury A .D ., f ig . 5 6), X X ( mid t o l ater 3 rd c entury A .D ., f igs .

1 8 ,

5 7) .

T he i ntention w ill t hen b e t o r etrace t he r oute b y w hich i t

a rrived a t i ts u ltimate f orm . T he c omposition i s

i n t he f orm o f a f rieze ,

g roup o f M arsyas a nd t he A pollo C itharoedus .

c entred a round a d ynamic

A pollo i s v iewed f rontally a s

h e s its,

h alf-perched ( his r ocky s eat i s s ometimes v isible) t o t he r ight o f

c entre ;

h is l eft k nee i s r aised a s t he f oot i s s et u p o n a s tep o r l edge ,

a nd

r ight

h is

l eg

i s

e xtended,

i ntroducing

t hrust t owards t he s pectator 's r ight .7 s urge a way f rom t he c entre a s M arsyas, l eft ,

a f requently

s trong

d iagonal

T his i s matched b y a n o pposing b lowing t he f lutes, s teps t o t he

h is h ead a nd u pper b ody t urning b ack a l ittle

t owards

A pollo .8

T o

e ither s ide o f t he c ontestants i s a n e nthroned g oddess; a t t he l eft i s C ybele , o ften c rowned , h olding a t ympanon a nd a ccompanied b y h er f amiliar l ion . A t t he r ight i s a l ess s ecurely i dentifible g oddess; o n X IX s he i s e quipped w ith t he a ttributes o f H era , ap omegranate , w and a nd d iadem ; o n X V s he w ears a s imilar d iadem a nd h er i dentity i s p resumably t he s ame . I n o ther i nstances p erhaps L eto w as i ntended , p resent a s a p artisan o f A pollo , a s C ybele i s o f M arsyas .9 O n X II , X V a nd X VIII h er r ight h and i s b rought u p t o h er f ace ( varied o n X IX , n o l onger d iscernible d ue t o d amage o n X IV , X VI a nd X X ) . A thena a ppears b etween M arsyas a nd C ybele , a nd t o t he l eft o f C ybele i s B acchus, a nother a lly o f Marsyas. A v arying n umber o f Muses s tanding a longside A pollo o n X VI , r ight o n X VIII,

X VIII a nd X IX ,

a nd H ermes a t t he e xtreme

X IX a nd p robably a lso X II a nd X VI .1 1

T his

s omewhat

f lexible n ucleus o f t he c omposition w as o ccasionally e xpanded a nd s lightly m odified b y t he p resence o f a dditional m inor c haracters : s atyr c ompanions f or B acchus, A ttis a s a c hild a t t he k nee o f C ybele , ia r iver d eity r eclining f igure i n E astern c ostume , p robably O lympos .1 2

a nd a

I f t he e xtremely c onsistent s tructure u nderlying t hese s cenes h ad b een r estricted t o u se o n t hese R oman s arcophagi, i ts c reation c ould b e a ttributed t o t he workshops i nvolved, a nd i ts r epeated a ppearance ( and e xtensive v ariation , a s w ill b e s een ) t o a p attern c irculating i n t he h ands o f a f airly l imited n umber o f c raftsmen . S imilarly i f i ts o ccurrence , b esides t hat o n t he s arcophagi , w as c onfined t o o ther w orks p roduced l ocally a nd d uring t he s ame p eriod , w hen s ome d irect m eans o f t ransmission c ould a gain b e s upposed . H owever , m any o f t he m ajor c omponents o f t his d esign h ad

a lready

w orks,

b een

a pplied

d ecoratively

a n i nlaid s ilver p atera ( 11,

2 nd

o n

t wo

c onsiderably

i st c entury A .D . ,

e arlier f ig .

1 3)

R oman a nd a

G aulish c eramic f lask ( 12 , e arly 2 nd c entury A . 11 , f ig . 1 4) . O ne i mportant d ivergence n eed n ot o bscure t he u nderlying s imilarities - i t i s i mmediately a pparent

t hat

n either

e arlier

work

f eatures

t he

r ank

o f

Muses

s o

c haracteristic o f t he s arcophagus r eliefs. A s 1 1 a nd 1 2 i ndependently r eflect s ome v ariation o f a p rototype d esign , t he o mission o f t he M uses i s l ikely t o b e s ignificant . I t s eems p robable t hat t he i ncorporation o f a g roup o f M uses i n t he u ltimate d evelopment o f t he f ormula o n t he M arsyass arcophagi a rose a s a r esult o f ac onflation w ith t he c ontemporary g enre o f M use-sarcophagi . T here w as c ertainly a t endency t o l ink t he t wo t raditions a s I X ( early 2 nd q uarter 2 nd c entury A .D .), t he e arliest k nown Marsyas-

3 1

s arcophagus,

d emonstrates ;

i t

b ears t he n ine M uses u pon t he f ront p anel,

a nd t wo-figure c ontest a nd p unishment s cenes u pon t he e nds . I t

i s

e stablishes

1,

t he

t he

n eed

w orkshops .

T he

e arlier t o

a nd

m ore

l ook b eyond

e ssence

o f

t he

a ccomplished t he

c ompass

s arcopahgus

p iece ,

o f

t he

w hich

i nitially

R oman s arcophagus

c omposition

i s

f oreshadowed

h ere , i n t he n uclear a rrangement o f A pollo a nd M arsyas f lanked b y t he s ame two s eated g oddesses; t he f igures t hemselves a re o f c losely r elated p osture , b ut a re d ispersed a t d ifferent l evels i n a r ocky l andscape s etting . T he A pollo-Marsyas g roup i s d isplaced t o t he r ight o f c entre a nd l acks t he d ynamic

o utward

s urge

c haracteristic

o f

i ts

a ppearance

o n

t he

s arcophagi .

C ybele a t t he l eft i s r eadily i dentifiable b y h er a ttributes, a nd t he s econd g oddess,

t entatively

i dentified

r ight h and b rought t o h er f ace . l eft,

( below)

a s

H era ,

i s

s een

a gain

w ith

h er

A thena s tands c lose t o M arsyas, n ot t o h is

b ut a bove a nd b etween t he c ontestants,

i n am anner r eminiscent o f t he

c ontest s cenes o n v ases mentioned a bove . T he u nusual s emi-reclining O lympos ( his h ead t urning b ack o ver h is s houlder) s et l ow i n t he mid f oreground ,

f inds a r emarkable p arallel u pon s arcophagi X IV ,

T he r eappearance o f a c ombination o f h ighly

s pecific

d etail

X VIII a nd X X . ( Olympos ,

t he

g esture o f t he s eated ' Hera ') a nd a more g eneral c ompositional f ormula l eaves l ittle r oom f or d oubt t hat t he d esign o f 1 1 a nd t he s arcophagi m ust d erive f rom a s ingle v isual t radition . I n

e xhibiting

p articular

t raits

t hat

c an

b e

r ecognised

f rom e arlier

G reek a nd I talian v ersions o f t he c ontest, 1 1 b ridges G reek a nd R oman t raditions f or t his s cene , a nd i s a n i ndicator o f o ne s tage i n t he p rogress t owards t he f ully d eveloped R oman d esign .

F oremost a mongst t hese t raits i s

t he p resence o f Z eus, e ntirely a lien t o t he m ainstream R oman c ontest s cenes . O thers c ontinued t o f ind a p lace i n t he R oman i conography : t he l ocation o f a t ree

b y M arsyas '

s houlder ,

r eference t o h is f ate; o ccasionally

a r ecurrent

l eitmotif

-p erhaps

a p roleptic

t he c lose p roximity o f A thena t o Marsyas;

t he a ppearnce p f v eiled,

s eated g oddesses,

a nd

s ometimes w ith

a ttributes o f H era o r C ybele .1 4 T he c ontest s cene o f t he P raenestine c ista A 29 ( after 3 30 B .C . , f ig . 1 5) b rings t ogether a n umber o f t hese k ey f eatures . M oreover , w e f ind t hem a ssembled i n a n a rray t hat i lluminates t he d ebt o f 1 t o a p re-existing f ormula . Y et d iscrepancies b etween t he t wo s uggest 1 c annot b e d irectly b ased u pon a ny p resumed m odel f or A 29 ; f eatures ( Athena ,

r ecumbent O lympos,

d erive f rom o ther s ources . f rieze ;

i t

h as

t he f ormer i ncorporates a dditional

l andscape s etting) w hich a re l ikely t o

T he m odel f or A 29 p robably t ook t he f orm o f a

a lready b een e stablished

t hat

m ajor f rieze c ompositions i n o ther m edia .1 5

c ertain

c istae

m ay

r eflect

I n a rtistic t erms , A 29 i s n ot

i n t he s ame l eague a s t he C ista F icoroni , a nd m ay o versimplify t he n ature o f i ts m odel , w hich s eems t o h ave b een a w ork o f s ome i nfluence . B ut t his must s till h ave b een o f a d ifferent c haracter f rom t he p opulous a nd s ophisticated l andscaped m asterpiece r eflected i n t he C ista F icoroni .

T he

d ifference may p erhaps b e a ccounted f or b y t he medium o f t he o riginal p rototype o f e ach . I f t he m odel f or A 29 w ere a r elief d ating f rom a round t his p eriod , r ather t han a p ainting , f or e xample , a r estrained a pproach w ith t he f igures e xpected.

s et

o n a s ingle g round-line,

T he c omposition o f A 29 i s

a s t hey a re o n A 29,

b uilt a round M arsyas,

c ould b e

w ho s tands a nd b lows

t he f lutes, a nd a s eated A pollo , l ocated t o l eft a nd r ight o f a t ree m arking t he c entral a xis o f t he d esign . A rtemis .1 6

I mmediately t o t he r ight o f A pollo s tands

T hese t hree f igures a re f ramed b y a p air o f s tately s eated a nd

3 2

sarcophagus, demonstrates; it bears the nine Muses upon �he front panel, and two-figure contest and punishment scenes upon the ends.1 It is ll, the earlier and more accomplished piece, which initially establishes the need to look beyond the compass of the Roman sarcophagus workshops. The essence of the sarcopahgus composition is foreshadowed here, in the nuclear arrangement of Apollo and Marsyas flanked by the same two seated goddesses; the figures themselves are of closely related posture, but are dispersed at different levels in a rocky landscape setting. The Apollo-Marsyas group is displaced to the right of centre and lacks the dynamic outward surge characteristic of its appearance on the sarcophagi. Cybele at the left is readily identifiable by her attributes, and the second goddess, tentatively identified (below) as Hera, is seen again with her right hand brought to her face. Athena stands close to Marsyas, not to his left, but above and between the contestants, in a manner reminiscent of the contest scenes on vases mentioned above. The unusual semi-reclining Olympos (his head turning back over his shoulder) set low in the mid foreground, finds a remarkable parallel upon sarcophagi XIV, XVIII and XX. The reappearance of a combination of highly specific detail (Olympos, the gesture of the seated 'Hera') and a more general compositional formula leaves little room for doubt that the design of l!. and the sarcophagi must derive from a single visual tradition. In exhibiting particular traits that can be recognised from earlier Greek and Italian versions of the contest, 11 bridges Greek and Roman tr�ditions for this scene, and is an indicatorof one stage in the progress towards the fully developed Roman design. Foremost amongst these traits is the presence of Zeus, entirely alien to the mainstream Roman contest scenes. Others continued to find a place in the Roman iconography: the location of a tree by -Marsyas' shoulder, a recurrent leitmotif - perhaps a proleptic reference to his fate; the close proximity of Athena to Marsyas; and occasionally the appearnce ¡f veiled, seated goddesses, sometimes with 1 attributes of Hera or Cybele. The contest scene of the Praenestine cista A29 (after 330 B.C., fig. 15) brings together a number of these key features.--Moreover, we find them assembled in an array that illuminates the debt of ll to a pre-existing formula. Yet discrepancies between the two suggest 11cannot be directly based upon any presumed model for A29; the former iocorporates additional features (Athena, recumbent Olympo0andscape setting) which are likely to derive from other sources. The model for A29 probably took the form of a frieze; it has already been established that certain cistae may reflect major frieze compositions in other media. IS In artistic terms , A29 is not in the same league as the Cista Ficoroni, and may oversimplify the nature of its model, which seems to have been a work of some influence. But this must still have been of a different character from the populous and sophisticated landscaped masterpiece reflected in the Cista Ficoroni. The difference may perhaps be accounted for by the medium of the original prototype of each. If the model for A29 were a relief dating from around this period, rather than a painting, forexample, a restrained approach with the figures set on a single ground-line, as they are on -A29 , could be expected.

--

The composition of the flutes, and a seated the central axis of the Artemis.16 These three

A29 is built around Marsyas, who stands and blows Apollo, located to left and right of a tree marking design. Immediately to the right of Apollo stands figures are framed by a pair of stately seated and 32

veiled goddesses; there is no specific attribute of the left-hand goddess to suggest Cybele; nor can the goddess at the right be securely identified by the rounded object she carries. Of greater interest than the question of her identity is the action of her right hand, lifting a fold of her veil before her face, for here, surely, we see the origin of the distinctive hand-before-face gesture of her equivalent in 11 and 12, later reappearing in a slightly modified form on the sarcophagi.- As Zeus is present, it is reasonable to assumé that one of the pair of goddesses may represent his consort Hera; the rocky seat of the right-hand goddess, matching that of Zeus, who sits at the left, may give a clue as to which - the left-hand goddess occupies a throne. Between Zeus and this enthroned goddess are a Muse and a youth resting upon a staff, perhaps Olympos.17 The two final figures are at the right: a second Muse and, at the extremity of the scene, another youth; this is the place allocated to Hermes in later versions of the scene, including 12, and he can be identified at the right of two contest scenes on Attic vases (Al7, A34). The identities of all the figures except Apollo and Marsyas are suppressed on A29, and so the lack of specific attributes (Hermes' caduceus, for example) caÜnot itself rule out any suggested .identification, although it makes secure interpretation difficult . We have already noted the overwhelming frequency with which Marsyas is seated at the contest in pre-Roman works; prior to A29, he is only found standing to blow the flutes in two works, an Attic v�painting (Al4, end 5th century B.C.) and the Mantinean base A24; in each case Marsyas plays before a 1tated Apollo, suggesting a consistent, if minor, alternative tradition . While comparison between A29 (and its presumed model) and the slightly earlier Mantinean relief is inevitable, overall the resemblance is largely superficial; even the Marsyas-Apollo grouping is not close. The importance of the relief tends to be inflated by its Praxitelean link and the passing mention it received from Pausanias. In fact, it does not appear to have been of any great influence, and there is no reason why the two designs should not have been conceived independently . 19 The relief medallion on the Gaulish flask 12 still contains sorne reference to the design reflected on the cista. But at once we recognise a more developed statement of the formula found on the main body of the sarcophagi: Athena now stands to the left of Marsyas, Zeus no longer features in the scene, and Hermes stands to the extreme right; Artemis puts in a return appearance, but transplanted to the left, where an enigmatic bare-chested male figure, one arm raised, may be a supporter of Marsyas Olympos as on the cista, or perhaps even Bacchus, who is regularly found at the left of the sarcophagus contest scenes. Variations from the expected formula, as in the pose of Apollo and Marsyas, may perhaps be attributable to the ceramist who created the mould from which the medallion was cast. There is little possibility that 11, in view of its African provenance, or g (and presumed duplicate impressions from the same mould) could have been instrumental in the transmission or development of the design as it was to appear on the sarcophagi. 11 omits particular features apparently included in the original prototype of A2 9 , which recur later on the sarcophagi; and yet it cannot be a uniqÜevariation since the recumbent Olympos, found upon neither A2 9 nor 1 2, reappears on certain of the sarcophagi. For 11 there is likely tohave been an interm.ediate model related to the prototype of A29; the extensive indication of rocks and 33

other natural forms, together with the successful organisation of the figures at different levels, suggests perhaps a mythological landscape painting, or a relief composed in the mode of sections of the Telephus frieze from the Altar of Zeus at Pergamon. Structural discrepancies between 11 and 12 make it unlikely they can be considered to refer directly to the same modeL Although both compositions are executed within tondi, their spatial arrangement is entirely different. In contrast with the comfortably dispersered figures of 11, the cramped disposition of figures on 12 suggests its design was compressed from sorne more elongated format. Indeed, 12 embodies further structural changes which are significant for the subsequent development of the design on sarcophagi, and which are therefore unlikely to be the invention of the Gaulish ceramist. Granted these are minor, still they help establish the continuing development of the pattern for the sarcophagus contest scenes, and denote that 12 marks a stage beyond 11 in this progresa towards the final form of thedesign. The figure of Zeus has been dispensed with, but in a composition which has been re-cast to maintain an overall symmetrical balance around the central pair of Apollo and Marsyas; this centralised arrangement of the contestants on either side of the principal axis is entirely lacking in 11. Athena too, relocated between Marsyas and Cybele, is absorbed into thisbalanced scheme. Thus 12, while recalling the 4th century B.C. cista-prototype, shows the designadapted and re-aligned to fulfil a simplified and more coherent view of the episode: in the omission of Zeus, who played no obvious part in the story and contributed little to the structural success of the design; and in the allocation of a subsidiary role to Athena, that of a partisan of Marsyas - an alliance which the accompanying epigrammatic Latin inscription emphasises.2 3 The Gaulish medallion seems to offer the reflection of a Roman response to the strong inherited visual tradition which, as the cista implies, may already have found sorne major expression in South or Central Italy. There is no indication from 11, 12 (where the ceramist in any case appears to have sought bis own solution) or a variation of the design upon an ash-chest (17, probably Flavian; below) that the opposing chiastic thrust of the Apollo-Marsyas group was employed for the Roman contest scenes befare its application on the sarcophagi . The range of content and composition in the remaining Roman contest Yet so wide-reaching does the impact of the scenes is fairly diverse. predominant Roman design appear to have been, that most can best be considered with reference to the degree of their relation to it. In the main, they preserve the basic convention of opposing the seated Apollo with a standing flautist Marsyas, but the connection often goes further . In setting the seated Apollo towards the left of the scene, three Roman reliefs of the 2nd to 3rd century A.D., each containing four or more figures, reverse the usual orientation of the contestants (XI c, A.D. 150170/80,; 2 3, 2nd-3rd century A.D.; XIII b, late 2nd century A.D.?, fig. 54). Three out of four two-figure scenes (14, 19, 26 - below) do so too. But there is no impression that these works amountto a concerted alternative tradition. Even though both XI and 2 3 depict Apollo playing an inverted cithara, the trick by which the godgained victory according to sorne literary accounts, there is nothing in the remainder of either composition to suggest they derive from a common visual source. 2 1 0n XI Marsyas strides away from Apollo, still vigorously blowing his flutes, with Athena as a concerned onlooker at the right. The god, with a Muse standing 34

alongside, adopts a pose connected with bis victorious incarnation in t�, Pergamene hanging Marsyas sculpture-group, right arm raised over his head. The composition of 2 3 is more extended, with seven figures, not all of whom are identifiable becaÜse of surface damage. Marsyas, standing more or less at the central axis and still playing, Nike and Athena (probably) are recognisable. The seated female at the right, right hand to her face, recalls the 'Hera' of the main tradition . The contest of the lost sarcophagus XIII was related more directly to the composition found on the main body of Marsyas sarcophagi, even though it incorporated various anomalies. One is the centrally-placed elevated and seáted female, who was damaged beyond clear recognition. She is reminiscent of the Athena located above and between the two contestants in 11, the Pompeian painting 6, and its pre-Roman antecedents. If Athena, she may perhaps have been introduced as a judgement figure to emphasise Apollo's triumph, implicit in the presence of Nike. A second is the transfer of Bacchus with his two attendants to the right of the scene.2 3 Compared with sarcophagus XII, it becomes clear that XIII may disclose the way one design could be adapted from another. XII renders a straightforward version of the contest common to the major group of sarcophagi. To the right of this contest scene is the hanging Marsyas with two Scythian executioners, also a common enough formula; but to the left of the contest on XII, forming an unusual extension to the punishment scene at the right, there is a second, different seated Apollo, with a winged Nike at his shoulder, and the pleading 0lympos at his feet. Punishment scenes divided into two complementary sections are rare, but not unknown.24 It would appear that on XIII this punishment-related Apollo and Nike group was taken over for the contest, with the standard competing Apollo being omitted, thus compressing the two consecutive episodes of XII into a single composite scene in which Marsyas appears twice, once fluting, again as victim. The fragmentary figure crouching before the Bacchic trio on XIII - Olympos' position on XII - may have been the pleading 0lympos, incorporated in an attempt to fose the two episodes together. The series of two-figure compositions, a British mosaic (14, 4th century A.D., heavily restored), a sarcophagus fragment (19, end 2 nd - early 3rd century A.D.), a gem (26, Imperial) and a sarcophagus-panel (IX a, early 2nd quarter 2nd century A.D.), are related only in preserving the conventional Their divergent juxtaposition of a standing Marsyas and seated Apollo. nature suggests this was achieved more through the combination of existing indidivual types than through considered reference to any fixed pattern. In varying degrees a number of other contest scenes owe something of their form to the dominant tradition. The naively executed ash-chest 17 (probably Flavian) shuffles severa! components abstracted :f'rom the mainstream design, prior to its further development on sarcophagi: at the left is a seated Cybele with Marsyas fluting, at the right, Hermes and Apollo; but the restructured composition pivots around a central Athena, standing over an ornamental urn.2 5 In the lost vault-decoration from Rome V a (Antonine?; fig. 52 a) the competing Marsyas and Apollo, to left and right of the central axis, are framed by a pair of seated �oddesses or Muses, although these bear only passing resemblance to their counterparts on 11 and 12. A range of familiar elements were employed for sarcophagus 20 (A.D. 22 0230), this time certainly taken over from the treatment of thecontest on the main body of sarcophagi: Bacchus stationed to the left, three Muses, 35

a longside ,

a dopts

a p ose

c onnected w ith h is v ictorious

i ncarnation i n t he

P ergamene h anging M arsyas s culpture-group , r ight a rm r aised o ver h is h ead .2 2 T he c omposition o f 2 3 i s m ore e xtended , w ith s even f igures , n ot a ll o f w hom a re i dentifiable b ecause o f s urface d amage .

M arsyas, s tanding m ore o r l ess

a t t he c entral a xis a nd s till p laying, N ike a nd A thena ( probably) a re r ecognisable . T he s eated f emale a t t he r ight, r ight h and t o h er f ace, r ecalls t he ' Hera' o f t he m ain t radition. T he c ontest o f t he l ost

s arcophagus X III w as

r elated m ore d irectly t o

t he c omposition f ound o n t he m ain b ody o f M arsyas s arcophagi, e ven t hough i t i ncorporated v arious a nomalies .

O ne i s

t he c entrally-placed e levated a nd

s eated f emale, who was d amaged b eyond c lear r ecognition . S he i s r eminiscent o f t he A thena l ocated a bove a nd b etween t he t wo c ontestants i n 1 1, t he P ompeian p ainting 6 , a nd i ts p re-Roman a ntecedents .

I f A thena ,

s he

m ay p erhaps h ave b een i ntroduced a s a j udgement f igure t o e mphasise A pollo 's t riumph , i mplicit i n t he p resence o f N ike . A s econd i s t he t ransfer o f B acchus w ith h is t wo a ttendants t o t he r ight o f t he s cene .2 3 C ompared w ith s arcophagus X II , c ould

i t b ecomes c lear t hat X III m ay d isclose t he w ay o ne d esign

b e a dapted

f rom a nother .

X II r enders a s traightforward v ersion o f

t he c ontest c ommon t o t he m ajor g roup o f s arcophagi .

T o t he r ight o f t his

c ontest s cene i s t he h anging M arsyas w ith t wo S cythian c ommon e nough f ormula ;

b ut

e xecutioners, a lso a

t o t he l eft o f t he c ontest o n X II ,

u nusual e xtension t o t he p unishment

s cene a t t he r ight,

f orming a n

t here i s a s econd ,

d ifferent s eated A pollo,

w ith a w inged N ike a t h is s houlder,

p leading

f eet.

O lympos

a t

h is

c omplementary s ections a re r are ,

P unishment

s cenes

b ut n ot u nknown .2 4

d ivided

a nd

t he

i nto

two

I t w ould a ppear t hat

o n X III t his p unishment-related A pollo a nd N ike g roup w as t aken o ver f or t he c ontest , w ith t he s tandard c ompeting A pollo b eing o mitted , t hus c ompressing t he t wo c onsecutive e pisodes o f X II i nto a s ingle c omposite s cene i n w hich Marsyas a ppears t wice, o nce f luting, a gain a s v ictim .

T he f ragmentary

f igure c rouching b efore t he B acchic t rio o n X III - O lympos ' p osition o n X II -m ay h ave b een t he p leading O lympos, i ncorporated i n a n a ttempt t o f use t he t wo e pisodes t ogether . T he s eries o f t wo-figure c ompositions, a B ritish m osaic ( 14 , 4 th c entury A .D ., h eavily r estored), a s arcophagus f ragment ( 19, e nd 2 nd - e arly 3 rd c entury A .D .) , a g em ( 26 , I mperial) a nd a s arcophagus p anel ( IX a , e arly 2 nd q uarter 2 nd c entury MI) , a re r elated o nly i n p reserving t he c onventional j uxtaposition

o f

a s tanding

M arsyas

a nd

s eated

A pollo .

T heir

d ivergent

n ature s uggests t his w as a chieved m ore t hrough t he c ombination o f e xisting i ndidivual t ypes t han t hrough c onsidered r eference t o a ny f ixed p attern . I n v arying d egrees a n umber o f o ther c ontest s cenes o we s omething o f t heir f orm t o t he d ominant t radition . T he n aively e xecuted a sh-chest 1 7 ( probably

F lavian)

m ainstream

d esign ,

s huffles

s everal

c omponents

a bstracted

f rom

p rior t o i ts f urther d evelopment o n s arcophagi :

a t

t he t he

l eft i s a s eated C ybele w ith Marsyas f luting, a t t he r ight, H ermes a nd A pollo ;

b ut

t he

r estructured

c omposition

s tanding o ver a n o rnamental u r r i .2 5

p ivots

a round

a c entral

A thena ,

I n t he l ost v ault-decoration f rom R ome

Va ( Antonine?; f ig . 5 2a) t he c ompeting Marsyas a nd A pollo, t o l eft a nd r ight o f t he c entral a xis, a re f ramed b y a p air o f s eated g oddesses o r M uses, a lthough t hese b ear o nly p assing r esemblance t o t heir c ounterparts o n 1 1 a nd 1 2 . A r ange o f f amiliar e lements w ere e mployed f or s arcophagus 2 0 ( A .D . 2 202 30) , t his t ime c ertainly t aken o ver f rom t he t reatment o f t he c ontest o n t he

m ain b ody o f

s arcophagi :

B acchus

3 5

s tationed

t o

t he

l eft,

t hree

M uses,

A remis a nd A thena .

B ut t he i ntegrity o f t he d esign h as b een d isrupted b y

i ts d ecorative a pplication ,

d ispersed t o e ither s ide o f a c entral p ortrait

r oundel . P erhaps i t w as t he w eakening o f t he c ompositional s tructure w hich l ed t o t he c onfusion o f s ome o f t he u sual a lliances; s o A thena i s t ransplanted t o t he e xtreme r ight o f t he s cene , a nd A rtemis t akes h er p lace a t M arsyas ' s ide . T he p resence o f N ike, h ere e merging f rom b ehind t he p ortrait r oundel t owards A pollo, was n ot a n ormal f eature o f t he major i conographic t radition . A part f rom s arcophagus f ragment 2 1 ( below) , o nly v arient w orks l ike 2 3 , X III , X VII a nd X XI d efinitely i ncluded h er a t t he c ontest . T his f ragment ( 21) , p robably f rom t he m iddle o f t he f ront p anel o f a s arcophagus ,

p reserves p arts

o f A pollo ,

h is c ithara r esting o n a g lobe

c ontained w ithin a t ripod , A rtemis h olding a t orch , a nd a s mall N ike . A d ate h as b een p roposed f or i t o f c a . A .D . 2 60-270 , a lthough t hose s arcophagi w ith which i t s hares s ome p articulars o f d etail - X VI a nd X VIII , w here A pollo i s a ccompanied b y A rtemis a nd a gain s upports h is c ithara o n a g lobe r esting w ithin a t ripod , a nd 2 0 , t he o nly o ther s urviving e xample w ith b oth A rtemis a nd N ike - a re p resumed t o o riginate f rom s ome t wo o r t hree d ecades e arlier . I t m ay b e t hat 2 1 a lso s hould b e a ssigned t o a s lightly e arlier d ate. T he l atest s arcophagus c ontest s cene, X XI c ( A .D . 2 90-300, f ig . 5 8), o ffers a r ather i ncontinent j umble o f f eatures w hich h ad a ppeared o n p revious M arsyas s arcophagi , n ot n ecessarily j ust i n t he c ontest s cenes , b ut i n s ome o f t he o ther e pisodes t oo . O nly t hese v estiges , a nd m inor d etails l ike t he p edum a nd s yrinx l ocated b ehind M arsyas ' l egs, r ecall t he i conography o f t he e arlier s arcophagi, a nd a n

o verall r elation t o t he

f ormerly d ominant f rieze c omposition i s r emote .L 6 T he j uxtaposition o f a s tanding M arsyas a nd A pollo a pproached f rom t he r ight b y aw inged N ike p araphrases t he o ne i ntact s cene o f v ariant s arcophagus X VII , b ut t here i s l ittle s imilarity i n t he c haracter o f t he i ndividual f igures ; y et A thena 's p osition i mmediately t o t he l eft o f Marsyas s eems t o r efer t o t he e stablished t radition . T he s eated n ymph ( or ' Muse ') who s eparates t he c ontestants , a part f rom e xisting a s a n i ndependent s culptural t ype , i s k nown o nly f rom h er a ppearance i n a s ubsidiary ; s cene ( c/d) a djacent t o t he c ontest o n t he much e arlier s arcophagus X I .2 / S imilarly , a lthough t here i s a p recedent o n X II f or a s ingle r iver d eity a t t he c ontest , X XI p rovides t he s ole e xample o f t wo male l ocation d eities b eing p resent . T hese t hree e xtraneous c haracters m ay h ave b een d rafted i n a s as pace-filling d evice f or t his o therwise s parsely-populated p anel , t o c ompensate f or t he o mission o f t he m ore u sual M arsyas-Athena s cene . I n s pite o f l apses o f s patial l ogic e ngendered b y t heir p iecemeal i ncorporation w ithin t he s cene , l ike t he f eet o f t he y outhful r iver d eity o verlapping t he r obe o f t he s tanding N ike s o t hat h e s eems t o f loat i n m id-air , t hey b ring a t ouch o f a nimation i nto a l ack-lustre c omposition . T he d imensions a nd c haracter o f

t he f ragmentary r elief

p anel

2 2 ( fig .

1 6) s uggest i t c ould o riginate f rom a s arcophagus, b ut f ully d etailed e xamination i s c urrently i mpossible , s ince i t i s s et h igh i n t he w est f acade o f t he A bbey c hurch o f F arfa ( Lazio) . A lthough i n a d amaged c ondition , t he f ive s urviving f ully-modelled a nd q uite s kilfully c arved f igures c an b e c learly d istinguished . T o t he l eft s tands a n aked M arsyas , h is a rms i n f lute-playing p osition , b ut t he i nstruments t hemselves n ow g one , a nd A pollo C itharoedus , c lad i n a l ong t unic ; t o t he r ight s tand a b earded f igure a nd B acchus ,

w ho l eans o n t he s houlder o f ay outh o r y oung s atyr .

W e k now f rom

X VII a nd X XI t hat s tanding f igures o f t he t wo o pponents h ad f eatured i n t he s arcophagus-carvers ' r epertoire , w here t his a rrangement s eems t o h ave b een a r elatively l ate p henomenon .

T he c ombination o f s tanding f igure o f a n ude

3 6

M arsyas a nd f ully d ressed A pollo i s ,

i n f act , m ore r eminiscent o f t he t wo-

f igure g rouping o n t he r elief 1 5 a nd g em 2 4 . C learly 2 2 i s n ot a w ork d irectly i n t he m ainstream t radition , b ut i n t he r emaining t hree f igures w e c an p robably r ecognise t he B acchic t rio w ho a ttend t he c ontest o n X II , X III , X VIII a nd p erhaps a lso X X . B acchus , a lone o r a ccompanied , i s m ore u susally p laced t o t he l eft o f t he c ontestants , b ut o n X III , a s h ere , h e a ppeared t o t heir r ight . D ifficulty o f a ccess t o 2 2 p revents d ating o n s tylistic g rounds; t he p ossible r elation o f t he p iece t o t he b etter d ocumented s arcophagi s uggests a t entative d ating t o t he s econd t o t hird q uarter o f t he 3 rd c entury A .D . T he T unisian m osaic

1 3

( NL

A .D .

1 80-200)

i s a p roblematic w ork ,

e ven

d isregarding c ertain s patial-structural o ddities w hich a ppear t o h ave a risen a s a r esult o f a dapting v arious c omponents o f s ome d esign t o a s quare f ormat , f or w hich , e vidently , t hey w ere n ot i ntended o riginally . N ot t he l east p roblem i s a n a lmost c ertainly s purious s imilarity o f t he m ajor p art o f t he s cene t o t he A pollo-Scythian-Marsyas g rouping o f t he 4 th c entury B .C . M antinean r elief A 24 . I nstead , t he s cene w as p robably d erived f rom t he m ajor f rieze t radition a s i t w as d eveloped f or u se o n t he s arcophagi ( rather t han f rom e arlier v ersions o f t he p rototype d esign ) . T he c onjoining o f t he f igures o f A pollo a nd M arsyas a t t he l ower l eg t o f orm a d ynamic V -shape w as a f ormula - t his m osaic e xcepted - s pecific t o t he s arcophagi ; t here , a s h ere, t he l eft l eg o f M arsyas p asses b ehind t he g od 's r ight l eg . T he l ocation o f A thena t o t he i mmediate l eft o f M arsyas , s eriously d isturbing t he e quilibrium o f ac omposition i n o ther r espects c arefully c onstructed o n a g eometric b asis , s uggests h er p osition t o h ave b een d ictated b y a dherence t o s ome e xisting s cheme , s urely t hat o f t he s arcophagi . T he c orrespondence b etween t he p roposed d ate o f t he m osaic a nd t he f irst k nown o ccurrence o f t he V -formula o n as arcophagus ( XII, A .D . 1 70/80-200) a llows f or e ven a m aximum t ime d elay i n t he t ransmission o f t he d esign o f o nly t wenty t o t hirty y ears , p ointing t o s ome e xceptional t ransmission p rocess . I t i s n ot i nconceivable t he m osaic c ould h ave b een m odelled d irectly o n a n e xported s arcophagus : w e k nown f rom X V , f ound n ear S idon , t hat s arcophagi o f t his p attern w ere p rovided f or t he e xport market . T here i s, h owever , s ome d eviation f rom t he s arcophagus s cheme ; t his i s e vident i n t he i ntroduction o f a f igure i n E astern d ress i n t he b ackground b etween t he c ontestants . T he i nsertion o f t his f igure, most l ikely r epresenting O lympos o r a S cythian , m ay h ave b een a s olution t o t he p roblem o f t he v acant c entral a rea c reated b y u se o f t he V -formua, which was n ormally c ountered o n t he s arcophagi b y t he p resence o f o ne o r more Muses . I n t he i conographic c ontext o f t he M arsyas s tory , A pollo 's p ose , r ight a rm r aised o ver h is h ead , i s a ssociated w ith t he g od 's t riumph a nd Marsyas ' p unishment, i ts u se c arrying t he i mplication t hat M arsyas i s a lready d efeated ; a nd c ertainly t he s atyr , a lthough s till h olding t he f lutes i n p laying p osition , n o l onger b lows t hem . T he P ompeian c ontinuous n arrative p ainting

I ( late A ugustan ,

f ig .

w here t he c ontest i s e nacted i n a n a rea s panning t he m id t o b ackground ,

2 ) , i s

t oo p oorly p reserved i n t his s ection t o p ermit a ny f irm c onclusions . T here i s l ittle t o s uggest t hat t his p art o f t he d esign i s n ot a l argely o riginal c reation , e ven i f t he d istant e nthroned g oddess m ay p erhaps h ave b een a r eference t o t he p redominant t radition ,

i n w hich t wo s uch f igures a ppear .

T he m anner i n w hich M arsyas p rances e nthusiastically i nto t he b ackground a s h e p lays , a t ransitional d evice t o l ink t his w ith t he e arlier e pisode , i s c ertainly n ovel . A n i ndistinct g athering o f o nlookers ( outnumbering t he u sual n ine M uses) m ay b e i nhabitants o f t he w alled t own d epicted n earby t hey c all t o m ind D iodorus S iculus ' a ccount o f t he c ontest, where t he

3 7

t ownsfolk o f N ysa a djudicated . 28 T wo f urther u seful a nalysis .

w orks h ave c ontest s cenes w hich a re d amaged b eyond m uch T he i st c entury A .D . g em 2 4 s eems i n a ny c ase t o o ffer a

q uite i ndependent v ariant . T he f rontal f igure-type o f t he c entral A pollo c onforms t o t hat o f 1 1 a nd t he m ain g roup o f s arcophagi , b ut i t i s u nusual t o f ind M arsyas w alking away f rom t he g od w hilst p laying , a lthough h e d oes s o o n s arcophagus X I ; t he t hird f igure p resent i s e ntirely i ndecipherable . O nly t races o f t he c ontest s cene o f t he f ragmentary r elief f rom t he a mphitheatre a t C apua ( VIII , H adrianic) r emain ; i n c ontinuous n arrative f ashion i t a djoined w ithout a b reak t hat p art o f t he p unishment s cene w hich t erminates t he r ight s ide o f t he p anel . H is p osture i ndicates t hat M arsyas, s een m ore o r l ess i n p rofile , w as s till p erforming a s h e p rogressed t owards t he

l eft .

c learly

O ne d istinctive

s atyric

f eature

f igure a s

w hich

M arsyas

i s

h elps

t he

i dentify

t his

b earded

s pruce-garland h e w ears .2 9

a nd T he

f igure o f O lympos p leading - i mplying t he p resence o f A pollo a lso - a lthough a ppropriate t o a p unishment s cene , c an o nly o riginate f rom s ome p art o f t he m issing l eft-hand p ortion o f t he c omposition . T his s uggests t hat t he C apua r elief f eatured e ither a d ivided p unishment s cene s traddling t he c ontest e pisode,

a s u pon X II,

o r a c omposite c ontest-punishment s cene a s u pon

X III. 3 0 A f inal s mall a nd q uite v aried g roup o f R oman w orks r epresent t he l ast p hase o f t he m usical c ompetition , a fter A pollo 's v ictory . T hey s eem t o p recede i n s equence t hose f ew s cenes d epicting t ransitional e pisodes l eading u p t o t he p unishment o f M arsyas ( Marsyas h imself p leading f or m ercy , a nd b eing l ed a way b y a S cythian e xecutioner) , w hich a re t reated i n t he n ext c hapter. I n h is -1 972 a rticle ' Der b esorgte M arsyas ', i ntroducing a n umber o f p reviously u npublished v ase-paintings , K . S chauenburg i solated a c lass o f s cene p ortraying a d isconsolate a nd d efeated M arsyas ; t o d evelop t he f ull p otential

o f

w hich m ight r eflect t he t heme .3 1 d istinct, t hese

b ut

d epends

n onetheless o n

o ur

t ypes o f d espondent,

t his

h e w as n ot a ble t here

i n r elation t o R oman w orks

An umber c learly d o , f alling w ithin t hree

r elated

b eing

c oncept

a ble

c ategories . t o

s olitary s atyr ,

E stablishing

i dentify a s

M arsyas

t he

t hree

f irst

o f

i ndividual

s eated i n c ontemplation o f t he f lutes ,

which a ppear o n R oman g emstones .

T he s erial r epetition o f t he t hree

f igure-types u pon t he g em 2 7 a -c ( Republican t o m id

i st

c entury B .C . ,

f ig .

2 5) , 2 8 a -c ( Republican t o i st c entury A .D . , f igs . 2 0 , 2 2) a nd 2 9 a -e ( 1st c entury B .C . t o i st c entury A .D . , f ig . 2 4) i mplies p ossible d ependence u pon s ome

w ell-known v isual m odel a nd ,

c ertainly ,

r eference t o s ome p articular

a nd i mmediately r ecognisable c haracter o r s et o f c ircumstances, t he

s pecific

p athetic o vertones o f t he f igure .32

b ecause o f

S ixteen A ttic a nd S outh

I talian v ase-paintings d epict M arsyas s itting i n v ariations o f t his f orlorn p ose , e ither h olding t he f lutes o r w ith t hem d iscarded a longside ; A pollo i s n ormally p resent, f requently p laying o n t riumphantly, a nd o n t hirteen e xamples s cene

r eceives

d efinitively

a g arland , w ithin

w reath o r p alm o f v ictory ,

t he

a ftermath

o f

t he

c ontest

w hich _ places p roper .3 3

O f

t he t he

t hree f igure-types , 2 8 o ffers t he m ost d irect f ormal l ink w ith t he v ases, f inding a n a lmost e xact p arallel i n t he M arsyas o f t he A ttic c alyx c rater f ragment A 41 ( early 4 th c entury B .C . , f ig . 2 3) . M ore u sually M arsyas t ends t o b e p ortrayed a s a b earded s atyr ,

b ut h ere ,

a ppears

H e

i n a m ore

l eft h and ,

y outhful

r ight a rm

i n h is

g uise . l ap ,

o n v ase a nd

l egs c rossed a t

f lutes h eld t ogether a t ad iagonal b eside h is k nee .

3 8

g ems

a like ,

h e

s its w ith h is h ead r esting i n h is t he a nkle ,

a nd w ith

t he

E vidently t he p rototype d esign f rom w hich t he f igure-type r epresented b y 2 8

w as

a bstracted ,

a ssociated v ases ,

a nd

w hich h ad

i nspired

t he

p ainters

o f

A 41

a nd

o ther

c ontinued t o m ake a n i mpact i n I taly t hrough i nto t he 2 nd

c entury B .C ., when p arts o f t he s ame d esign were a dapted wholesale f or r epresentations o f t he E truscan l egend o f M egales a nd C acu , m ost s triki ely r endered o n a 2 nd c entury B .C. a labaster u rn f rom C hiusi, n ow i n B erlin . D espite m any p oints o f s imilarity ,

t here i s n o s uch p recisely m atching

e quivalent f or t he M arsyas o f 2 7 a nd 2 9 f rom a mongst t he r emaining c omplete c ontest s cenes u pon t he v ases , a nd i t m ay b e t hat t hey a re m ore i ndependent v ariations,

p erhaps

e ven

b ased

o n

a f igure

a lready

t reated

i n

i solation .

T he p ensive s olitary M arsyas o f t he S outh I talian o inochoe A 81 ( ca . m id 4 th c entury B .C . , f ig . 1 9) , s eated a nd w ith a f lute h eld o ut b efore h im i n e ach h and , a llows t hat s uch m ight b e t he c ase ; i ndeed , t he M arsyas-type o f 2 7 h as am arked a ffinity w ith i ts c ounterpart o n t his v ase. 3 5 T he s econd m ain v ariation u pon t he d espondent M arsyas t heme o ccurs i n a f ragmentary multi-figure s cene o n a l ate F lavian o r H adrianic

r elief

( 16) .

F rom w hat r emains, i t a ppears t he s kilfully e xecuted c omposition w as p artly f ounded u pon a n e clectic r e-use o f t he e xisting f igure r epertoire o f o ther p hases

o f

t he

s tory :

A rtemis

a nd

a n

e nthroned

g oddess

( here

m ost

l ikely

C ybele s ince s he i s l ocated b y M arsyas) a re f ound i n a ttendance a t c ontest s cenes ; t he s tanding S cythian e xecutioner b y A pollo i s b est k nown f rom b ound M arsyas w orks .

H owever , t here i s n o d irect p arallel i n R oman M arsyas w orks

f or t he f igure o f M arsyas w hich t erminates t he s cene a t t he l eft . p oorly p reserved , h e c an b e s een t o h ave s tood , e lbow r esting u pon a s tele s et b efore h im . a s ection o f b unched d rapery d ecorative

swag .

( Apulian o inochoe,

r esting a gainst a s tele a t t he c ontest . v aried u eon e ach v ase, a lthough t he d istantly . -5 6

F rom t he t op o f t his d escends

a c loak o r

Two v ase-paintings, A 32

c entury B .C .) a nd A 44

A lthough

h ead b owed a l ittle a nd o ne r obe

r ather

t han a p urely

( Lucanian s kyphos, e nd 5 th

3 70-350

B .C .)

f eature

Marsyas

T he p recise s tance o f M arsyas i s t wo f igures s eem r elated, i f

W hile t he o rientation o f t he f igure i s d ifferent ,

t he M arsyas

o f A 44 c orresponds t o a n e xtent t o t hat o f 1 6, a nd a gain t he s tele i s d raTZ T h owever , s ince m ajor s ections o f t he a rms a nd l egs o f M arsyas a re missing f rom t he r elief, d etailed c omparison o f t he t wo f igures i s i mpossible . r elated

E ven

t hough

t o a f airly

t he

M arsyas

f igure

s tandard

s chema ,

i ts

o n

r e-use

t he i n

r elief t his

i s

u ltimately

h ighly

s pecific

c ontext m ust r aise t he p ossibility t hat t he c arver o f

1 6 ,

p repared t o d raw f igures

h ad r esorted t o a n

f rom a r ange o f s ources,

w ho w as c learly

e xisting f ormula f rom w ithin t he e stablished i conography o f t he m yth f or h is M arsyas. T he f inal t ype o f d espondent M arsyas s cene i s i ncluded w ithin t he m ost c omprehensive s urviving M arsyas c ycle ,

t he s arcophagus

X I

( scene

c /d ;

A .D .

1 50-170/80, f igs. 2 6-27) . I ts l ocation u pon t he f ront p anel within a s equence o f f our e pisodes - f ollowing t he c ontest , b ut p receding M arsyas l ed c aptive a nd t hen p unished - h elps c onfirm t he p lace i n t he o rder o f e vents o f t he a nalogous d espondent M arsyas w orks a lready e xamined . M arsyas s tands b efore a t ree w ith a c restfallen a ir , t he l owered f lutes h eld o ne i n e ach h and . E specially i n t he w ay h is w eight i s p oised , h is p osture a ccords w ith t he R oman s culptural c opies o f a H ellenistic s tatue o f M arsyas, p art o f a l ost

s tatue-group

r ock

t o

t he

l eft ,

( A88 a -f,

f ig .

2 8) .

T he n ymph

a lso b ased u pon a w ell

k nown

( or

' Muse ')

s culptural

p erched t ype

o n

f ound

a i n

R oman c opies ( A88 g -1) , s eems l ikely t o b elong t o t he s ame g roup . T he t wo a re k nown t o h ave b een c ombined a s f ree s tatues f rom a m atching p air o f c opies f rom M inturnae i n L atium ( A88 a , g ) ;

a s econd p air f rom L eptis M agna

( A88 b , h ) may a lso h ave b elonged t ogether . I n p araphrasing t his c ombination o f f igures, t he s arcophagus s cene X I c /d a ppears b oth t o

3 9

s ubstantiate t he e xistence o f ag roup o f t his c omposition a s a n i ndependent e ntity , a nd t o d efine i ts s ubject a s ap ost-contest e pisode , a f act i mplicit i n t he s ubdued e xpression o f t he s culptural s atyr . T he s urviving c opies o f t he s culptural M arsyas l ack t heir o riginal a rms . O n t he b asis o f t he c onnection o f X I c /d w ith t he s tatue g roup , i t m ay p erhaps b e i nferred t hat t his s culptural f igure h eld a p air o f f lutes l ike h is e quivalent o n t he s arcophag e a s a n i dentifying a ttribute a nd t oken o f t he c ause o f h is d ejection . T he o verall i mpression o f t he R oman c ontest s cenes i s o f a n a pproach g overned b y aw ide-ranging a wareness o f e arlier v isual t raditions , s ometimes m erely a cknowledged i n p assing , s ometimes e xploited a s t ake-off p oint f or s ome n ew d evelopment . T here p revailed a n e xceptional u nanimity i n a dhering t o t he t radition i n which M arsyas s tands t o p lay a t t he c ontest, t he a ntithesis o f t he c onventional p re-Roman t reatment, i n s pite o f h is c ontinuing a ppearances s eated i n t he c ompany o f O lympos , w hich m ight h ave p rovided a mple o pportunity f or s ome f orm o f c ross-contamination . O nly t he C ampanian p aintings 6 a nd 8 a re k nown t o h ave d eviated i n p resenting M arsyas s eated a t t he c ontest p roper . T he d isappearance o f t his t raditional c onvention a fter t he i st c entury A .D . c ould b e r egarded a s o ne o f t he f ew c hronological p atterns t o e merge f rom t he R oman c ontest s cenes , b ut i n t he c ase o f a m otif w hich m ay h ave b een c onfined t o p ainting ,

t his

m ight e qually r eflect o nly t he u nbalanced a nd g eographically l imited s urvival o f p ainted e vidence . S till , t here i s n othing t o s uggest i t w as t aken u p l ater e lsewhere i n o ther m edia . T he

v arious

s tages

o f

t he

e volution

o f

t he

i nfluential

m ulti-figure

v ersion o f t he c ontest p rior t o i ts a ppearance o n t he s arcophagi h ave b een o bserved a lready . T he c ontest s cenes o n s arcophagi , t he m ost c oherent b ody o f R oman Marsyas works, a lso e vidence a s ustained, i f r estricted, c hronological p rogress . I nterestingly , t wo o f t he t hree e arliest M arsyas s arcophagi a re a lso a mongst t he m ost v aried ; I X ( early 2 nd q uarter 2 nd c entury A .D .) a nd X I ( A .D . 1 50-170/80) make l ittle r eference t o t he m ainstream t radition b eyond t heir u se o f

t he s tanding

M arsyas - s eated

A pollo f ormula, while t he t hird, X , W I 1 50-170/80) d oes n ot i nclude a c ontest s cene a t a ll, t he o nly c yclic M arsyas s arcophagus t o m ake t his o mission . T hen u pon X II ( AU . 1 80-200) t here s uddenly o ccurs t he f inal m ajor a daptation o f t h p redomiant m ulti-figure c omposition , f ully f ormed . I f t he i ntroduction o f t his l atest a nd d ecisive v ersion i s a ttributable t o s ome i nnovative i ndividual c arver o r w orkshop , i ts i nfluence s oon s pread , d irectly o r v ia w orkshop p atterns , a nd t he e nsuing f ew d ecades p rovide s ix c losely r elated v ersions l ater 3 rd c entury A .D .) . W ithin

t his

s eries

( X IV -X V I , X V III XX ,

t here

c an b e

e nd

p erceived

2 nd

c entury

t o m id

-

a g radual p rogression

c onsonant w ith t he g eneral t rend o bservable d uring t he 3 rd c entury A .D . o ther b odies o f R oman s arcophagi t reating a s ingle t heme,

i n

t owards a n

i ncreasing i ntensity o f s tatement a nd a d egree o f s implification . I n t he c ase o f t he M arsyas s arcophagi , a g rowing e mphasis i s l aid u pon t he m ain p articipants ,

a nd s upernumerary M uses a nd o ther

c haracters

a re

s ometimes

d ispensed w ith . S o w hile t here a re s even M uses i n t he c ontest s cene o f X V , a nd s ix o n X II a nd X III , t here a re o nly f ive o n X VIII a nd X IX , e ven t hough t he a doption o f t he l enos t ype o f s arcophagus f or t hese l ast t wo a llowed f or a n e xtended s urface a rea t o b e d evoted t o t he c ontest . 38 T his p rocess r eached i ts m ost e xtreme f orm a t t he t hreshold o f t he 4 th c entury AD . o n X XI , i n a d issolution o f t he u nderlying i ntegrity o f t he d esign w hich h ad d ominated r epresentation o f t he c ontest o n M arsyas s arcophagi d uring t he p receding c entury .

4 0

C hapter 4 M ARSYAS B OUND ' M arsyas w as f layed f or h is h ubristic c hallenge t o A pollo , c ulminating i n a n i nevitable d efeat . H is p unishment w as a f avourite t heme w ith R oman a rt p atrons , e specially i n t he f orm o f c opies o f t he P ergamene s culpture o f M arsyas h anging . B ut i n a s chism d ating p robably f rom t he l ate 5 th c entury B .C . ,

t he v isual

s tory

w as

g iven

t wo a lternative

e ndings .

I n

t he

f irst

v ariation , w hich h ad a lready a ppeared b y t he t hird q uarter o f t he 5 th c entury B .C . ( A67) , M arsyas i s s hown h anging , w ith h is a rms d rawn u p a bove h is h ead a nd u sually s ecured a t t he w rist ; i n t he s econd , h e a ppears b ound , h is a rms p inioned b ehind h is b ack . T o m ake s uch a d istinction m ay s eem a rbitrary , b ut i t c orresponds t o t wo s eparate , t hough r elated , t raditions , e ach w ith i ts o wn i conographic r ange . H owever , t here r emain t o b e c onsidered a s mall n umber o f R oman v ersions o f two m inor t ransitional e vents t hat i mmediately p recede M arsyas ' e xecution . T hese p rovide l ittle i nternal e vidence t hat t hey m ight b elong e xclusively t o e ither a lternative p unishment t radition , ( below), h anging.

b elongs

a lthough o ne ,

X I e

t o a s arcophagus c ycle i n which M arsyas i s d epicted

W ith a s ubtle i rony i n i ts r eference t o t he v ictory o f t he l yre ,

t he

i ntaglio d esign o f a i st c entury A .D . p lectron o f p lasma ( 32) s hows M arsyas p leading f or m ercy a s h e k neels b efore a n u nconcerned s tanding A pollo . T he f lutes l ean d iscarded a gainst a n earby t ree , w hich i s p robably m ore a s ymbol o f t he i mpending p unishment t han a s imple l andscape f eature . N o l iterary m ention o f t he e pisode s urvives , b ut a C ampanian f lask ( A57 , c a . m id 4 th c entury B .C .) a nd a P raenestine m irror , ( A58 , l ate 4 th t o e arly 3 rd c entury B .C . ) c arry i llustrations o f M arsyas d irecting a n a ppeal t o A pollo , a nd s o r eveal a t raditional b asis f or t he t heme , e ven i f t he f ormal c orrespondence b etween t he v ersions i s n ot p articularly c lose . A n u nexplained f eature o f t he s cene o n t he p lectron i s t he f ull E astern c ostume w orn b y M arsyas. H is P hrygian o rigin , f requently s tressed i n l iterature, was s eldom s o o vertly d epicted i n a rt, a nd t he c ostume may r ather i ntimate t hat t he s ource o f t his d esign l ay o utside t he e xisting f ormal r epertoire o f t he m yth . I llustrations o f s ubmissive b arbarians a ddressing a p lea f or c lemency t o a v ictorious g eneral , f or e xample P riam i mploring A chilles f or t he b ody o f H ector o n ar epouss6 s ilver c up f rom H oby ( A .D . 1 0 - 2 0), o ffer a c lose t hematic p arallel - a nd p erhaps a d irect m odel, b oth f or M arsyas h ere, a nd f or O lympos when h e a ppears p leading b efore A pollo i n n umerous R oman p unishment s cenes ." T here i s a marked r esemblance b etween t he Marsyas o f 3 2 a nd t he s imilarly c lad s upplicant b efore a s eated A pollo i n a p ainting f rom N ero 's D omus A urea ( C3), n o l onger e xtant, b ut r ecorded i n a d rawing b y P .S . B artoll . T he a uxiliary f igures f rom t he p ainting c ould a rguably b e a ppropriate f or a M arsyas s cene ( see A ppendix ) , b ut t he r adiant h alo w hich A pollo i s s hown t o h old o ver t he h ead o f t he s upplicant , a s o pposed t o t he p lectron w ith w hich h e o ften g estures, m ust c all t he i nterpretation i nto

4 1

q uestion .

W hile t his m ay b e a d raughtsman 's e rror ,

o r a m isrepresentation

i n T urnbull 's 1 740 p ublication , i t p revents t he p ainting t han t entatively a ssigned t o t he c orpus o f M arsyas w orks .

b eing

m ore

A f urther t ransitional e pisode o ccurs o n S arcophagus X I ( scene e ;

A .D .

1 50 - 1 70/180 , f ig .

f ig .

3 0) a nd 3 1

2 9) .

A ll

2 7) a nd t wo m osaics ,

f rom N ea P aphos,

t hree

make

C yprus

f rom

3 0 f rom A lgeria ( 4th c entury A .D . , ( 2nd q uarter 4 th c entury A . 11 ,

f ig .

s lightly d iffering u se o f t he s ame b asic motif:

M arsyas b eing l ed a long i n c aptivity b y a S cythian .

A s eries o f A ttic b lack

a nd r ed-figure v ases ( A90, 2 nd q uarter 6 th c entury t o l ater 5 th c entury B .C .) s how a s atyr l ed i n c aptivity b y a b arbarian g uard b efore t he t hrone o f K ing M idas , p robably r eferring t o a n i ncident r elated b y X enop l ion ( Ana l ) . I , 2 ,

1 3) i n w hich M idas c aught a w ild s atyr b y g etting h im d runk . O n X I t he S cythian p ropels M arsyas,

b ack ,

t owards a n e nthroned A thena ,

w hose h ands a re b ound b ehind h is

u rging t he s atyr f orward w ith a g uiding

h and o n h is f orearm .

A t heory o f K . S chefold ,

o f X I

s tory-book ,

w as

a p icture

i ncluding

t hat t he m odel f or t he s cenes

m odels

p erhaps

e ven

o f

a l ate

c lassical c haracter , m ay o ffer a p ossible s olution t o t he p roblem o f h ow t he d esign w as t ransmitted .4

B ut a n a lternative h ypothesis i s p rompted b y t he

c lose s imilarity b etween t he s atyr o f t he v ase-paintings , l ed p assively , a rms b ound b ehind h im, b y t he b arbarian g uard, a nd t he n ude O restes, l ikewise t ethered a nd i n t he h ands o f a b arbarian c aptor , e ncountered i p R oman wall-paintings, metal-work , a nd s arcophagus a nd o ther r eliefs .' T hese

w orks,

t he p aintings

i n p articular ,

d egrees u pon a 4 th c entury B .C . T imomachus,

m odel ,

o r

a re l ikely t o d epend a l ater H ellenistic

i n v arying p ainting b y

i n w hich O restes a nd P ylades a re l ed c aptive b efore K ing T hoas

o f t he T aurians, t he o ccasion o f t he r ecognition o f I phigenia .6 I t i • s c onceivable t hat t he b ound c aptive a nd e nthroned r uler s chema , a lready l ong e stablished , w as a dapted f or t he O restes s tory . W e c an a ssume t here w as a p erceived t hematic p arallel b etween M arsyas b ound a nd O restes a mong t he T aurians, s ince w e k now t hat t he t wo s ubjects w ere s ometimes c ombined a s p endant s cenes f rom a p air o f p aintings f rom H erculaneum, 3 4 a nd i ts c ompanion , a nd t wo p anels o f s arcophagus 3 7 ( perhaps a lso 3 3 aa nd b ) . T he d irect a ssociation o f t he t wo s cenes u pon s ome m onument , o r i n ap icture o r p attern c ollection , m ay h ave i nspired t he a doption o f t he s chema t o e xtend t he s cope o f t he M arsyas c ycle o f X I . T he s tory o f t he s atyr e nsnared b y M idas was t he s ubject o f o ne o f t he I magines ( I, 2 2) o f t he E lder P hilostratus, s tupor ,

b ut t here t he s atyr w as d escribed a s s leeping o ff h is d runken

a nd t here i s n o o bvious r eference t o t he c omposition k nown f rom t he

v ase-paintings .

G ranted

d esign o f M idas a nd t he c arver o f X I

i t

i s

s till

c aptive

e ven t hen t here

p ossible

s atyr m ight i s

n o

s ome r ecord o f t he o riginal h ave

s urvived

t o

r eason t o

s uppose

t hat

i nspire t his

t he was

s pecifically i ncorporated i nto t he M arsyas r epertoire b efore i ts a ppearance o n t he s arcophagus . S ince s cene , i ts

T hoas

( or

M idas)

w ould

h ave

b een

i nappropriate

f or

a M arsyas

a nd a n e nthroned A pollo a lready a ppears i n t he c ontest s cene o f X I o n

f ront

p anel ,

A thena c ould b e s een a s a n a cceptable s ubstitute f or t he

f igure o f a uthority, g iven t he o ccasional t endency t o p ut h er i n t he p osition o f r eferee a t t he c ontest. T he v igorous d irectional i mpulse i mparted t o t he f igures o f M arsyas a nd t he S cythian o n X I m ay h ave b een i ntroduced a t t he t ime o f t he t ransfer o f t he s chema t o i ts n ew c ontext . W hen t he s ame s chema w as a pplied o n t he l id o f a n O restes s arcophagus f rom a t omb n ear t he P orta V iminalis w hi e i s d ated A .D . 1 30 - 1 34 , t he f igureg rouping w as s till e ntirely s tatic .

4 2

I f t he i ntroduction o f t his d ynamic i mpulse t o t he M arsyas-Scythian g roup w as i ndeed c onnected w ith t he a daptation o f t he s chema f or u se o n a s arcophagus t o e xtend t he a vailable r ange o f M arsyas i magery , i ts r ecurrence i n t wo 4 th c entury A .D . m osaics ( without A thena ) w ould a gain h ighlight t he i ssue o f m osaicists ' a ccess t o t he s arcophagus c arvers ' r epertoire . H owever , m odification t o t he M arsyas-Scythian m otif i n t he m osaics i ndicates s ome f urther i ntermediate s tage o f d evelopment , a nd t he v ariation i n o verall c omposition b etween t he m osaics s uggests t hat o nly t his i ndividual m otif m ay h ave b een s ubject t o t ransmission i n d etail . T he M arsyas o f t he m osaics w ears a n a nimal s kin a nd h is a rms a re n o l onger p inioned b ehind h im, a lthough t he S cythian a t h is b ack , n ow h aving t aken h old o f h is v ictim 's h ead w ith o ne h and , s till g rips h is t railing f orearm , a s o n t he s arcophagus . W ith t his v ariation o f t he f ormula c omes a s hift o f d irection w ithin t he s cene ; i nstead o f b eing h ustled f orwards , o n t he m osaics i nto t he p resence o f A pollo , M arsyas i s f rog-marched a way t owards t he t ree o f h is e xecution , s et a t t he e xtreme l eft o f t he s cene . T he e ssence a nd o riginality o f t he d evelopment i ntervening b etween t he s arcophagus a nd t he m osaics i s i n t he s uccessful a ssimilation o f a s econd-hand m otif t o f orm a n ew e pisode o f s ufficient n arrative d epth a nd

s ymbolic c ontent

t o s tand i ndependently o f

o ther M arsyas s cenes w ithin a c omplex d ecorative s cheme . T he f ine p olychrome mosaic 3 1 i s o ne o f f ive p anels making u p a p avement d iscovered i n t he ' House o f A ion ' a t N ea P aphos, which c arry t hrough a D ionysiac a llegorical p rogramme w ith a n u nderlying t heme o f j udgement;

t his i s d escribed b y W .A . D aszewski a s ' among t he g reatest

c reations o f a ntiquity% 8

T he moral message o f t he M arsyas s cene i s

u nderlined b y t he i dentification b y i nscription o f t he f emale b ystander a longside A pollo a s rf lN h i , personification of Error. W hile a s imilar b ystander s ometimes a ccompanies A pollo i n p unishment-related s cenes , i t i s i mpossible n ow t o s ay whether h er l abelling h ere may b e t rusted a s a n i ndication o f h er i dentity e lsewhere, o r i s merely t he r esult o f t he a daptation o f a c onvenient s tandard f igure t o t he r equirements o f t he a llegorical s cheme . T he t hree-figure g roup o f w hich s he i s o ne e lement w ith t he s eated A pollo C itharoedus a nd p leading O lympos , w as p robably t aken o ver a s a n i ntegral u nit , c omplete w ith s uitably f oreboding c onnotations , f rom i ts

e stablished p lace

i n t he p unishment

i conography ,

w here

i t a ppears

i n

b oth h anging a nd b ound M arsyas s cenes .9 T here m ay b e a n o blique r eference i n t he i ntroduction o f a s econd S cythian w ielding a k nife , w ho j oins t he f irst t o d rag M arsyas a way , t o t he f amiliar p air o f S cythian e xecutioners , k nown f rom a n umber o f h anging s cenes . I n s pite o f i ts s ynthesis o f s tock f ormulae t o a rrive a t t his n ew s cene , t he d esign o f 3 1 i s e ffective a nd c ompact , a nd t he a droit s tructural i nterlinking o f t he f igures u nderpins t he i nternal d rama e voked b y t he e xchange o f g lance a nd g esture . L ess s ubtle , t he c omposition o f 3 0 s prawls o ver a m ore e longated f ield . T he c onjunction o f A pollo a nd a p alm-bearing N ike might b elong t o t he p unishment o r t he c ontest p hase o f t he s tory , b ut t he p recise f orm o f t heir a ppearance h ere n eed n ot h ave b een d ictated b y a ny s pecific p attern . T he y outh a t t he r ight o f t he s cene w earing E astern d ress a nd h olding t he f lutes m ust b e O lympos, a lthough i t i s u nusual t o f ind h im s tanding r ather t han p leading

i n c ontest o r p unishment s cenes ;

h is p ose ,

b ut n ot h is c ostume ,

r esembles t hat o f O lympos i n m any o f t he M arsyas-Olympos t utorial s cenes i n R oman p aintings, a nd o n s arcophagi a nd g ems."-' I n s ome a spects, t hen , t he two mosaics d iffer, e ven i f t he g eneral p rinciple o f t he p resence o f A pollo a nd O lympos i s c ommon t o b oth . B ut e xcepting t he k nife-carrying e xecutioner o f 3 1, t he M arsyas - S cythian -

4 3

t ree a rrangement i s d irectly c omparable .

T he i mplication o f t he r epetition

o f t his f ormula i n l ocations a t o pposite e nds o f t he M editerranean i s

t hat

e ither a t ravelling m osaicist w orkshop m ay h ave b een r esponsible f or b oth a lthough i f s o ,

o ne m ight p erhaps e xpect a g reater c onformity o f d esign a nd

s tyle - o r t hat t he n uclear m otif w as made a vailable i n s ome h ighly p ortable f orm .1

T here i s n o p articular i ndication

d irectly f rom t he f or 3 0 , o nly t he A frican m osaic m ay af alse i mpression c hronology.

t hat

e ither m osaic m ay d erive

o ther , a nd i n t he a bsence o f a ny f irmer d ating e vidence a pparent d egradation o f c ompositional s tructure i n t he h int a t w hich w as c reated e arlier ; e ven t hen , t his m ay b e d ue m ore t o t he l evel o f l ocal c raft s kills t han r elative

O ur c onsideration o f t he R oman M arsyas b ound s cenes m ust b e s een a gainst t he b ackground o f

t he f ailure o f

s cholars

t o r each a ny a greement o ver

t he

l ikely f orm o f t he p ainting Marsyas r eligatus b y Z euxis ( fl . c a . 4 00 p) \ 1 B •, • •2 T his w as t o b e s een i n P liny 's t ime a t t he T emple o f C oncordia i n R ome ( NH X XXV , 6 6) , a nd s o w as , i nspiration f or R oman a rtists.

i n t heory a t l east, a vailable a s a s ource o f

A t f irst s ight , t he d iverse r ange o f s urviving p re-Roman M arsyas b ound s cenes s eem t o o ffer l ittle i nsight i nto t he n ature o f Z euxis ' p ainting , o r o f t he p osture i n w hich M arsyas w as d epicted . O n A ttic r elief l ekythos A 59 ( 1st q uarter 4 th c entury B .C .) a nd a l ost M arsyas k neels ;

C ampanian v ase A 62

o n A ttic c alyx c rater A 61

( ca .

3 30 B .C .) ,

( 330-310

B .C .)

A ttic s kyhpos 63

( ca . 3 30-320 B .C .) a nd a n E truscan u rn A 66 ( 2nd - i st c entury B .C .) h e i s s eated;

a nd o n A pulian c alyx c rater A 60 ( 3rd q uarter 4 th c entury B .C .),

P aestan f lask A 64

( ca .

e nd 4 th c entury B .C .) ,

a nd a P raenestine m irror A 65

( earlier 3 rd c entury B .C .) h e i s s hown s tanding . e stablish,

a s

A .

Weiss

b elieves,

t hat

n o

T his v ariety c annot i tself e xample

r eflects

t he

M arsyas r eIigatus .1 3 H owever , t he a bsence o f a ny e xtant A ttic w ork s howing M arsyas s tanding a nd b ound c ertainly d oes n ot c ontradict W eiss 's a ssessment o f ap robable C entral I talian s ource , r epresenting t he p unishment o f A mykos , a s m odel f or s uch f igures .

T he t wo A ttic v ases w ith a s eated M arsyas ( A61,

A 63) , e xcluded f rom d iscussion b y W eiss, s upport t he ease p ut b y G . S äflund f or s upposing Z euxis ' M arsyas t o h ave b een s eated .1 4 S ome c ommentators h ave

s een

i n

t he

s o-called

' Belvedere T orso '

( A82;

p robably a n e arly

I mperial c opy a fter a n o riginal o f t he l ate 3 rd t o 2 nd c entury B .C .) a s culptural s eated M arsyas ;

t here i s a n a ntique l ocation-hole a t t he b ase o f

t he s pine, b y which a t ail may h ave b een a ttached, a nd a c orner o f t he p anther-skin o n w hich t he

f igure

s its

i s

t urned

o ver h is

t high - a m inor

d etail o ften a ssociated w ith R oman s eated M arsyas f igures, w hich i nclude t he b ound

Marsyas

o f

t he

c onvincing a nalysis i t

w as

f urther

b ased)

m ay h ave

e xample

a bstracted

f rom

o f

A ugustan

g em

4 3

( below) .1 5

I f

S äflund 's

t hen t he t orso ( and t he o riginal o n w hich

b een a s culptural

t he

f amous

w hich M arsyas k neels,

f ine

i s c orrect,

p henomenon

p aintings .1 6

o f

r endition o f s culptural

T he

t hird

a nd

Z euxis '

motifs e arliest

M arsyas,

h aving

a

b een

v ariant,

i n

i s n ot k nown a fter t he l ater 4 th c entury B .C .

T he g em 4 3 ( Augustan , f ig . 3 7) i s t he o nly p reserved R oman w ork t o s how b eyond a ny d oubt t he b ound M arsyas a s s eated , a nd i n t his i t a ppears t o b e a r ecollection o f a n e arlier , p erhaps A ttic , v ersion .1 7 T he M arsyas o f t he g em e xhibits a p articular r esemblance t o h is c ounterpart o n t he s kyphos A 63 , a lthough h is p ose o n t he v ase i s m ore e xaggerated ; a nd t he s tanding A pollo w ho a ccompanies M arsyas o n t he g em u nderscores t he i mpression t hat r eference w as m ade t o s ome e arlier m odel,

f or w hile a s tanding A pollo i s t he n orm o n

s urviving p re-Roman M arsyas b ound s cenes, e xception i n R oman p ractice .1 8

E ven s o,

4 4

s uch a f igure i t

i s v ery m uch

t he

i s i mpossible t o s tate f inally

whether

t his

a pparent

d ebt

t o

a n

A ttic

t radition

i s

a ttributable

t o

t he

p resence i n R ome o f Z euxis ' p ainting , n ot l east b ecause t he i nclusion o f a s mall p leading O lympos s uggests t he g em m ay c ombine f eatures f rom m ore t han o ne

s ource ,

a nd

s o

c annot

b e

t hought

t o

r eproduce

t he

M arsyas r eligatus

p recisely . T here i s n o f irm e vidence t hat a p leading O lympos o f t he k ind s een h ere , a nd i n m any s ubsequent b ound a nd h anging M arsyas s cenes, w as p art o f

a ny

p re-Roman

p unishment

c omposition ,

i ncluding

t he

i nfluential

l ost

P ergamene s tatue-group A 69 . O lympos c an o nly b e i dentified o n t he s kyphos ( A61) a nd P raenestine m irror ( A65) , w here h e s tands , a nd p ossibly i n t he v ariant

P raenestine

m irror

m iniscule y outhful s atyr , A pllo 's f eet .

e ngraving

A 58

w ith

M arsyas

p leading ,

n either k neeling n or v isibly p leading ,

w here

a

c owers a t

I t i s p ossible t hat t he p leading O lympos w as f irst i ntroduced

i n a R oman v ersion

o f

t he

e pisode ,

p erhaps

a c onflation o f

t he

e xisting

c oncept o f O lympos a s b ystander , a nd t he S outh a nd C entral I talian t radition ( A57,

A 58) ,

a ccording t o w hich M arsyas h imself p leads f or m ercy ,

r evived o n 3 2 -o stensibly m odelled s chema .

o n a g eneralised

' pleading

t hat w as c aptive '

T he m otive f or i ntroducing t he p leading O lympos m ay h ave b een n o

m ore t han a w ish t o h eighten t he e motional r ange o f A pollo 's

s tatus

T he n ature e mployed ,

t he s cene a nd a mplify

a s v ictor . o f

t his

n ew v ersion ,

c an o nly b e s urmised :

w here t he p leading O lympos w as f irst

i t m ust s urely h ave b een i nfluential ,

s ince

t he i dea w as v ery w idely a dopted ; t herefore i t i s u nlikely t o h ave i ncluded a s eated b ound M arsyas, a m otif l argely r ejected b y R oman a rtists . I t c ould p erhaps h ave b een a h anging M arsyas s cene , a lthough n one s urvives w ith ap leading O lympos f rom b efore t he l atter p art o f t he i st c entury A .D . f igure m ay

R oman v ersion o f

t he b ound

M arsyas

e pisode ,

w ith a s tanding

s eated A pollo f raming O lympos a nd a S cythian e xecutioner , o f

c opies

T he

r ather h ave b een i ntroduced v ia t he p rototype o f t he p revalent

a nd

a daptations

c ommences

a round

A .D .

2 5

M arsyas

a nd

o f w hich a s eries

( IV c ) .

P art

o f

t he

s uccess o f t his p rototype c learly r esided i n t he f act t hat a k ey e lement o f t he d esign , A mykos,

t he s tanding b ound f igure ,

w hether a s M arsyas ( A60 , A 64 , A 65) o r

w as a lready r ooted i n I talian t radition .1 9

A f urther c omponent o f t he h ypothetical R oman p rototype , i n a ddition t o O lympos p leading a nd t he s tanding b ound Marsyas, was a s eated A pollo C itharoedus . W hile n o s uch f igure o ccurs i n t he s urviving p re-Roman b ound Marsyas s cenes, t he i nfluential P ergamene g roup A 69 f eatured a s eated A pollo , a nd a s ubsequent e clectic R oman d esign m ight e asily h ave e xploited s uch a s ource .

T he a nalogy e voked b y t he p leading O lympos b etween A pollo

a nd t he s chema o f t he e nthroned v ictor o ver h umiliated b arbarism may i nitially h ave p rompted t he i dea . a esthetic r efinement

T his s olution i s a lso a n e ffective

i n i ts m ore e mphatic c ontrast o f c omposed a nd s eated

v ictor , a nd d iscomforted s tanding v ictim . F rom t he t ime t his p rototype e stablished t he p rinciple o f t he s eated A pollo w ithin t he R oman b ound M arsyas i conography , i t s eems t o h ave b een f ollowed i n a ll b ut t he s lightest m inority o f works, i n s pite o f t he c omparative f reedom w ith which t he i ndividual s eated f igure-type o f A pollo was v aried, a nd t he w ide a vailability o f a lternative, s tanding f igure-types a s p otential m odels. T he

f ourth

p rototype

f igure

d esign

i s

w hich

c an

a S cythian

b e

c onsidered

w ho

s tands

a s tandard

a longside

e lement

M arsyas

o f

h olding ,

t he o r

p erhaps u nsheathing, a k nife; h e i s h ardly c omparable t o t he c rouching k nife-grinder o f

t he P ergamene g roup .

A s tock f igure ,

f irst

s een i n t he

e arly 4 th c entury B .C . A ttic Marsyas b ound s cene A 59 ( where Marsyas k neels) , i t w as i n a ll l ikelihood t aken u p a s au nit w ith t he s tanding b ound M arsyas f rom s ome i ntermediate v ersion i n w hich t he t wo w ere c ombined , s ince

4 5

t he p air o ccur t ogether o n t he P raenestine m irror A 65. 2 0 A nother f actor s uggests w e a re d ealing w ith a r ecently f ormed d esign i n t his p resumed p rototype; t his i s t he marked d ifference i n f undamental c ompositional s tructure b etween t he R oman b ound M arsyas s cenes a nd t he p reR oman o nes , a t a ny r ate , i n t hose c ontaining f our o r m ore f igures, w hich m ay b e r egarded a s b eing e xtensive e nough t o b egin t o s how u p a ny p attern . T here a re s ix p re-Roman w orks i n t his c ategory , r anging f rom t he e arly 4 th t o t he 2 nd o r i st c entury B .C . , a nd i n a ll o f t hem M arsyas, u sually w ith A pollo s et c lose b y, t hree

i st

i s a t o r n ear t he c entre o f t he s cene .2 1

c entury A .D .

R oman works

most

c learly

p rototype ( 33a , 3 4 r y c ) s eparate M arsyas a nd A pollo , a nother a t o pposing e nds o f an arrow f rieze-like f ield. B efore

d iscussing

h ow

f ar

i ndividual

B ut t he

a ssociated

w orks

t o

w ith

t he

c ounterpoise

o ne

may

r elate

t o

t he

h ypothetical p rototype , o r h ave d eviated f rom i t , w hether t hrough c onscious v ariation o r f ailure t o r espond t o i ts i nfluence , i t i s n ecessary t o r eturn b riefly t o Z euxis ' M arsyas r eligatus:

m ight n ot t his

i nfluential

p rototype

a nd t he p ainting i n t he T emple o f C oncordia b e o ne a nd t he s ame? v ary t he q uestion s lightly ,

i f t he M arsyas r eligatus

b elieved t o h ave d epicted a s eated M arsyas, t he p ainting o n d isplay?

o f

Z euxis

-o r ,

i s

t o

r ightly

m ight P liny h ave m isattriputed

Ac onclusive a nswer i s i mpossible , b ut t he w eight

o f t he e vidence p oints t owards t he p rototype h aving b een a n e clectic , r ecent a nd p robably R oman c reation . T here i s n o d efinitive c lue t o t he m edium o f t he p rototype .

H owever ,

n o h anging M arsyas i s k nown f rom t he o ften r elated m edia o f w all-painting a nd s tucco-relief , e ven t hough t here a ppear o ccasional o blique r eferences t o t he r ival h anging M arsyas t radition , s uch a s t he c rouching S cythian k nifeg rinder o f

-I I

a a nd V b .

I t m ay b e i nferred t hat

i nitially ,

a nd i n t hese

p articular media, t he i nfluence o f t he b ound Marsyas p rototype was s ufficient t o e xclude t his major a lternative ( originally s culptural) t radition .

I t i s a rguable t hat o nly a p ainted p rototype c ould h ave

e xerted a d irect e nough i nfluence t o c ounteract t he p ressure o f t he h anging t radition . A s tucco-relief f rom t he s o-called ' Underground B asilica ' a t P orta M aggiore ( IV c , c .a . A .D . 2 5 , f ig . 3 3) , a nd t wo C ampanian wall-paintings, 3 3 a ( Third S tyle, c a . A .D . 3 5-45, f ig . 3 2; f rom P ompeii) a nd 3 4 ( Fourth S tyle , N eronian ; f ig . 3 4 ; f rom H erculaneum) , b y t heir c onformity t o a s hared d esign

f ormula

e stablish

t he

b asic

f ramework

o f

d irectly o r i ndirectly , t hey m ust o we t heir f orm .

t he

p rototype

t o

w hich ,

I n a ll t hree t he f igures

a re s et o ut a long a s imple g round-line a nd a gainst a f eatureless b ackground . E vident v ariation i n d etail i s m ore l ikely t o r eveal a n i nclination o f a rtists

t o

i nterpret

t heir

s ource w ith a d egree

o f

f reedom

t he

a nd i ngenuity

t han a n i nability t o p resent a c oherent v iew o f t heir m odel o r r eliance o n a s eries o f m arginally d iffering p rototypes . O ur e arliest v ersion i s t he s tucco-relief I V . T he f act t hat i t was c reated i n R ome a nd p redates b y p erhaps a d ecade t he f irst o f t he r elated C ampanian e xamples - a nd t wo f urther P ompeian p aintings ( II a nd I II ,

b elow)

d epend t o a n e xtent o n t he s ame p rototype - s uggests t hat t he p attern o f t he p rotype w as d isseminated f rom t he c apital . m ost

f aithful

e xecution .

r eflection

t he

p rototype ,

I f s o ,

I V cm ay w ell r ender t he

i n f orm

i f

n ot

i n q uality o f

A pollo i s a t t he l eft, h is b ack t o ag arlanded s tele which

s ubtly b alances b ound .

o f

t he g narled t ree a t

t he e xtreme r ight

t o w hich M arsyas i s

T he g od s its i n a r elaxed p osture t hat a llows h is h ead t o d rop

4 6

f orward

a l ittle

B etween O lympos

t o

a ttend

a nd

t he

M arsyas,

e ntreaty o f

t he

b ody o f

O lympos ,

t he

k neeling

S cythian h as

b efore h im .

m ostly

f allen

a way , b ut h is p reserved s ilhouete s hows t hat h is p ose m ost c losely r esembled t hat o f h is e quivalent i n 3 3 a : s tanding , l eft h and b y h is s ide , r ight h and p assing b efore h is b ody . I n t his, h e d iffers f rom t he e xecutioners o f t hree o ther works, I II, 3 6 a nd X ( below), who, l ike t he S cythian o f t he P raenestine u nsheathing

m irror

A 65,

h ave

t he k nife

o r

f eeling

b oth h ands i ts

t ogether b efore

b lade .

T he

c ontorted

t heir b ody, a nd

p athetic

f igure o f M arsyas c onveys a s trong s ense o f i nner t orment ; h is r ight l eg c rosses p rotectively b efore t he l eft, a s i n 3 4 , a nd h is l eft s houlder i s l owered

t o

p resent

a v iew o f h is

b ack a cross

t he

s houlder-blades .

T his

d istinctive t wisted p ose o f t he s atyr 's u pper b ody i s r epeated b y t he b ound M arsyas o f a f ragmentary R oman r elief ( 38 ,

2 nd c entury A . 1 ) .? ;

i f t his w as a f eature o f t he m ajor p rototype,

f ig .

3 6) ,

b ut

i t w as o ne r arely a dopted f or

o ther s urviving v ersions, o nly r ecurring o n t he g ems 4 2 a a nd b ( below) . A bout t he r emainder o f t he s cene o f w hich 3 8 f ormed p art , w e k r iO w l ittle b eyond

t he

i mplication i n

t he

M arsyas

f igure ,

w hich t erminated t he r ight

s ide o f t he c omposition , t hat i t m ay h ave b een r elated t o t he m odel o f I V c . T he

e arliest

r ecorded

C ampanian

e xample

o f

t he

s cene

( 33 a )

q uite s traightforward m irror-reversal o f t he c omposition o f I V c ,

o ffers

a

b ut w ith

s ome m odification o f d etail: M arsyas s tands l imply , s een i n a t hree-quarter f rontal v iew , a nd A pollo i s p ortrayed w ith h is r ight f orearm r aised o ver h is h ead ,

a p ose l inked w ith t he A pollo o f t he P ergamene s culpture-group ,

f ound t wice f urther i n P ompeian p aintings s cenes .2 2

I n 3 3 a

b ut

i n t he c ontext o f M arsyas b ound

t he t all t ripod b y A pollo 's s houlder f ulfils t he s ame

c ompositional r ole a s t he s tele i n I V c . T he p ainting 3 4 f rom H erculaneum r estores t he o rientation o f I V c , w ith M arsyas a t -t he r ight ; s ince t wo o f t he t hree r elated v ersions c onform t o t his o rientation , a s d id 3 8, a nd a s d o a n umber o f l ess d irectly d ependent works,

t here a re g rounds f or a ssuming t his was t he o rientation o f t he

o riginal p rototype .23 A n ew c omponent i ntroduced i n 3 4 i s t he w reathed M use o r p ersonification who s tands b eside A pollo , h er h ead t urned t owards h im a s i f i n c onversation . T his i s t he e arliest s urviving a ppearance o f t his

c ombination o f f igures

o ther e xamples

i t o ccurs

w ithin a R oman M arsyas

c omposition ,

a nd l ike

i n a s cene r elating t o M arsyas ' p unishment .

T he

f igure-grouping h ad a ppeared e arlier a s a s eparate s ubsidiary s cene t o I V c , a nd d oes s o o nce m ore i n I I c ( below) , a gain a s ap endant t o ab ound M arsyas s cene . W e k now i t m aintained a s eparate e xistence a s a n i ndividual c yclic c omponent t hrough i nto t he 2 nd c entury A .D .

f rom s arcophagus X II ,

o ccupies

t o

t he r ight-hand e nd p anel ,

a djacent

t he h anging

w here i t

s cene .

I t

i s

q uite l ikely t hat t he p athway o f t he f ormula - a mounting t o n o more t han t he j uxtaposition o f t wo s tock t ypes - i nto t he R oman M arsyas i conography , a b ias

t owards

t he t erminal e pisode ,

w as v ia a c yclic w ork w hich ,

w ith

l ike I V

a nd I I , p resented i t a s a n i ndividual s ubsidiary o r c omplementary s cene i n c ombination with t he p unishment. B eyond t he f act t hat s he r egularly a ppears

t o

p rocedings ,

o n

t he

o r s ometimes c onceivably i nterceding o n b ehalf o f M arsyas ,

b e

i n c ommunication w ith

A pollo,

t he

n ew c haracter 's r ole i s s eldom d efined .

p assing

c omment

I n 3 4 s he c arries a g arland,

p erhaps a t oken o f v ictory f or A pollo ; w e h ave a lready e ncountered h er i n 3 1 a s t he p ersonfication o f E rror, t he o nly i nstance s he i s s ecurely i ndentifiable. T here

a re

i ncluded

i n

t he

p aintings

3 3 a a nd

3 4

m inor

s upplementary

d etails w hich f unction a lmost a s s tage-props t o e nhance t he s ubstance o f t he s cene : t he d iscarded f lutes , t he u ltimate c ause o f M arsyas ' d own-fall a nd a

4 7

c onstant l eitmotif i n R oman r epresentations o f p ost-contest e pisodes ; a nd a s harpening-block s et i n f ront o f t he v ictim .2 4 W hile t his l ast i tem d oes n ot r ecognisably f eature i n s urviving p re-Roman M arsyas b ound s cenes , i ts r ecurrence o n 3 6 a nd x b ,

t wo g arland-sarcophagus r eliefs,

d emonstrates i t

w as n ot c onfined t o C ampanian v ersions . C learly t he b lock a nd f lutes c ould h ave b een c omponents o f t he p rototype d esign, t heir o mission f rom I V c p erhaps a r esult o f t he s tuccoist 's s ketchy e xecution . s harpening-block , f laying i tself ,

T he p resence o f t he

b y a lluding t o a p rocess t o b e c ompleted b efore t he

s ubtly e xpands t he i mplicit t ime-span o f t he i mage .

I t i s

p ossible t hat i t w as i ntroduced a s a n i ntentional r eference t o t he S cythian k nife-grinder o f t he P ergamene g roup ,

a u biquitous m otif w hich i nvaded t he

i conographic t radition o f t he b ound Marsyas a t l east f our t imes i n a ll ( II a , V b , 3 7, 4 1) . T he P ompeian p ainting o f M arsyas a nd t he S cythian g rinder I I a , S tyle,

p robably V espasianic ;

( Fourth

f ig . 3 0) c ombines w ith I I b ( fig . 2 1),

A pollo a nd t he p leading O lympos, i n p anels o n t wo a djacent w alls .

o f

t o f orm a p unishment s cene d ivided a nd s et T he o rder i n w hich t he f igures o ccur w hen

t he t wo p anels a re r ead t ogether i n t heir e xisting j uxtaposition - S cythian , M arsyas, A pollo ,

O lympos - c ontradicts t he u nderlying s tructure e stablished

b y t he p rototype f ollowed b y 3 3 a a nd 3 4 ;

i f t he t wo p anels a re t ransposed ,

t hen t he e xpected o rder i s r estored . A b reakdown o f i nternal l ogic i s f urther i nstanced b y t he d isparity o f b ackground b etween t he t wo s ections, l andscape i n I I a , i nterior i n I I b .

T his a nd t he u ninspired h andling

s peak f or h ack w orkmanship .2 5 W ith m ore i nventiveness a nd f lair ,

t he p ainter o f I II b ( Vespansianic? ;

f ig . 3 5) d istributed t he k ey f igures o f t he b asic p rototype f ormula w ithin a d ecorative , f ramework o f ' theatrical ' a rchitecture .L 6 D espite t heir p artial i solation o ne f rom a nother w ithin a rchitectural n iches, a n i mpression o f c ommunication b etween t hem i s s kilfully maintained t hrough e ffective u se o f g esture a nd c arefully d irected g lances, n egating a ny d isruption t o t he c oherence o f t he s cene c aused b y i ts s patial d ispersal . H owever , o nce a gain t he r elative p ositions o f t he m ain c haracters h ave b een a ltered f rom t he l ine-up f ound i n I V c , 3 3 a a nd 3 4 , s o t hat , p roceding f rom t he l eft , t he o rder f ollowed i s : O lympos, A pollo , M arsyas, a nd a s tanding S cythian . A lmost c ertainly , t his r e-arrangment w as made u nder t he c onstraints i mposed f irstly, b y t he o verall d ecorative s cheme, which r equired A pollo t o b e p laced

c entrally ,

t o f ace d irectly t he A pollo o f t he c ontest s cene a t

t he

c entre o f t he o pposite w all ; a nd s econdly , b y t he n eed t o a ccommodate a n e xtra p rojecting s ection o f t he w all-surface w ithin t he s cheme . O lympos i s s hown s tanding a s h e a ppeals t o A pollo ; p erhaps h is n ormal k neeling f orm w as n ot

t hought

s ubstantial e nough t o t ake i ts p lace i n t he t all

i ndividual n iche . t he r ight , O lympos,

H is l ocation t o t he l eft o f A pollo ,

c reated a p roblem o f f ocus f or t he p ainter ;

a nd y et m aintain v ital c ontact

f ield o f h is

w hilst M arsyas i s a t s o a s n ot t o e xclude

w ith t he r est o f t he s cene a t t he

r ight , A pollo 's b ody i s d irected t owards O lympos , b ut h is h ead i s t urned away, a llowing h is g aze t o s ettle o n t he a djacent n iche where M arsyas s tands . H ere , a lthough M arsyas ' h ands a re f ixed b ehind h im , t here i s n o t ree ; p resumably i t w as r egarded a s i nappropriate f or t he a rchitectural s etting , i n t he s ame w ay a s A thena 's s pring i n t his c ycle w as s ubstituted b y a ' mirror ' . B esides t he p rincipal S cythian e xecutioner i n h is n iche t o t he r ight, a S cythian o ccupies a n a dditional s ubsidiary n iche o n a s hort s tretch o f

t he e ntrance w all

a ugmented

t o t he l eft o f O lympos .

f urther b y a c horus

a rchitectural

f eatures .

o f

s even ' extras ' ,

F ive m embers

o f

t his

T he

c ast

o f

t his

s cene

i s

r anged b etween t he m ajor c horus

a re

a lso

S cythians ;

t he r emaining t wo a re w omen , n either i dentifiable b y a ny s pecific a ttribute .

4 8

T he w oman w ho a ppears o n t he r ight p eriphery o f t he s cene h as n o o bvious r ole , a nd h er a larmed e xpression p robably i ndicates n o m ore t han a n a ttempt t o h eighten t he d ramatic t ension ; b etween A pollo a nd O lympos,

b ut t he s econd ,

m ay h ave

b een

v eiled ,

i ntended

t o

f emale ,

l ocated

c orrespond

t o

t he

M use o r p ersonification n oted a bove a s a n o ccasional c ompanion o f A pollo i n a nalogous

s cenes .

T here i s n o d efinite f actor ,

o ther t han a v arying d egree o f d ependence

u pon, o r r eference t o, a n a pparently widely k nown p rototype d esign , t o s uggest t hat t he C ampanian b ound M arsyas p aintings c ould b e t he p roduct o f a s ingle workshop; t here i s n o b asis f or d oing s o o n t he g round o f s tyle . T he o ne s tylistic c omparison w hich c ould h ave b een m ost u seful , t hat b etween 3 3 a a nd 3 4 ,

i s i mpossible s ince t he f irst

i n a d rawing, c ontext.

i s d estroyed a nd o nly r ecorded

a nd t he s econd i s r emoved f rom i ts o riginal d ecorative

T he o nly i ndication o f a ny c hronological d evelopment i n t he

p aintings l ies i n a r eadiness t o s acrifice p ictorial u nity t o t he d emands o f t he s etting,

e xhibited b y t he p air o f p robably s lightly l ater w orks,

I n c ommon w ith I I a , a s eries o f c ontorniates e arlier 2 nd c entury A ID .)

s how

k nife-grinder a t h s s ide . A pollo,

t he

b ound

M arsyas

I I a nd

( 41, c a . mid

i st

t o

s tanding w ith a S cythian

T he t hird f igure , w here o ne m ight h ave e xpected

may b e a s eated

Muse o r g oddess.

P erhaps

e ven a n ymph was

i ntended, a s i n V ba nd X c ( below), a lthough t he f ull-length t unic s he w ears m ay r ender s uch a n i nterpretation l ess l ikely . T his t endency t o b reak

u p

t he

l ater w orks,

s tructure

a ssociated

w ith

t he

major

p rototype

c ontinues

i n

i mplying a w eakening o f t he i nfluence w hich f irst g ave r ise t o

t he r elated w orks o f t he e arlier t o m id i st c entury A .D . S o two o f t he ( Antonine?;

f igs.

f our 5 2

f rieze-like

b -c)

f rom

p anels

o f

l ost v ault-decoration V

a n u nknown l ocation i n R ome,

c ompositions w orked u p i nto f our-figure s cenes u sing t he e arlier d esign .

c arried

e lements

o f

I n V b M arsyas s tood b ound t o t he t ree a t t he r ight,

t he S cythian k nife-grinder c rouching b efore h im ; w ith ,

s eparate

a t t he t he l eft,

a s eated A pollo l ooked o n

a s pring n ymph s itting o n a r ock ;

c entrally ,

i n t he

b ackground , w as a l arge s tele . I t s eems f rom t he c arefully v aried f ittings a nd f ixtures o f V c t hat a d efinite a ttempt w as made t o c onvey a c hange o f s cene t o a n i nterior o r s anctuary s etting : t he f raming p air o f g enii l oci , o ne

c omplete

w ith a f lowing u rn ,

w ere

p erched

i llogically o n l ion-footed

s tools; A pollo, i n much t he s ame p ose a s b efore, s at o n a moulded b asis i nstead o f a r ock , a nd t he s tele w as r eplaced b y a t ripod ; k neeling b efore A pollo was t he p leading O lympos o mitted f rom t he p receding s cene .

A

m annered b ut f airly a ccurate p araphrase o f t his c entral A pollo - t ripod _ Olympos g roup a ppears o n o ne o f t he f ragments o f a p ainting c onserved a t t he L ouvre

( C9) ,

n ow

b elieved

P ighianus d rawings, w hich V i s k nown .

t o b e

f orgeries,

p robably b ased u pon t he

o r a nother c ontemporary

r ecord

o f

t he

C odex

s ame v ault,

b y

A n ymph l ike t hat i n V bi s f ound i n a nother b ound M arsyas c omposition , s cenes

b a nd

c o f

g arland-sarcophagus X

(C A.

A .D .

1 50-170/80) .2 7

I ndeed ,

t he c arver o f X a dopted a n a pproach w hich h as a c ertain a ffinity w ith t hat o f t he c reator o f s cene V b , i n which t he f ield was s ubdivided b y t he c entral s tele s o t hat A pollo a nd t he n ymph w ere i n o ne s ection , M arsyas a nd t he S cythian i n t he o ther .

A s imilar d istribution o f f igures o ccurs i n t he

a djoining p anels o f t he d ivided p unishment o f t he s arcophagus: i n X b M arsyas a nd t he S cythian , i n X c t he n ymph a nd A pollo . Y et t he o rientation o f t he s cene , a nd t he f igure-types o f A pollo a nd t he S cythian , a re v aried o n

4 9

t he s arcophagus,

a nd t he r esemblance b etween t he two monuments c ould

r easonably b e a ttributed t o ac onformity o f o utlook i n d ealing w ith t he s ame s ubject a t a round t he s ame t ime . V iewed a s a n e nsemble , t he t wo p arts o f t he c omposition X b /c r estore t he c onfiguration o f t hose i st c entury A .D . s cenes

m ost

M arsyas

a re

d irectly

c onnected

o nce m ore

s et

a t

s tands b y t he b ound v ictim ; r eplaced O lympos .

w ith

t he

o pposing b ut h ere ,

p revalent

e nds

o f

p rototype ;

t he

s cene ,

A pollo

a nd

a nd a S cythian

A pollo 's g ryphon a nd t he n ymph h ave

A l ow r ocky o utcrop r ises b etween Marsyas a nd t he

S cythian ; a bove i s s et t he s harpening s tone , a nd f rom b eneath t here g ushes a s pring ,

p erhaps

a n

a llusion

t o

t he

r iver

s ource

t raditionally

a ssociated

w ith t he p lace o f M arsyas ' f laying, a nd w ith t he s atyr 's metamorphosis ( Ovid , M etam . V I , 3 84 f f .) . i s a s econd b y t he S cythian ,

B alancing t he t ree t o w hich M arsyas i s f ixed i n w hich r oosts A pollo 's r aven . T he f lute-

c ase

t he

s uspended

t radihion , t ree.` °

f rom

o ne o f

b ranches,

a f eature

o f

t he p re-Roman

e choes t he w ay t he f lutes t hemselves a re t ied t o t he p unishment

T he n otion o f d epicting t he f lutes a ttached t o t he t ree , r ather t han s imply l ying d iscarded n earby o r l eaning a ginst t he t ree-trunk , w hile p robably o riginally a v ariation o f t he s ame e arlier t radition t hat s howed t he f lute-case h anging f rom t he t ree, may h ave f ound i ts way i nto t he r elief-carvers ' r epertoire ( cf . 3 6 a nd 3 9,

b elow) f rom h anging M arsyas

w orks, w here t he m otif a ppears s poradically f rom A ugustan t imes o n .2 9 N o e arlier i nstance s urvives o f t he a nimal-skin c loak o ften w orn b y M arsyas b eing d isplayed u pon t he t ree b eside h im, 3° s uspended f lutes , A .D . 1 50-170/80) P ossibly ,

i s s hared b y 3 6 , with a s parser

b ut

t his d etail,

l ike t he

a s ingle g arland-sarcophagus p anel ( N I . v ersion o f t he s ame d esign a s X b .

t he s cene w as e xtended i nto a n eighbouring f ield c omparable w ith

X c , b ut n o r ecord o f t his i s p reserved . P erhaps a m ore m odest p roduct o f t he s ame w orkshop a s X , 3 6 l acks i ts r ichness o f d etail ; t he s econd t ree , t he s pring a nd r aven a re a bsent. O therwise, a s t he t wo f igures a re p ractically i dentical ,

t he o nly s ignificant d ifference i s i n t he s pecies o f

t ree t o w hich M arsyas i s b ound , a f ig o n X b , as pruce o n 3 6 . T hree g ems

( 44 a -c,

i st c entury B .C . o r A .D .), a nd p robably a lso t he

c entral p anel o f a l ate a ntique S eason m osaic ( 35 , A . 11) ,

p resent

l ate 4 th t o 5 th c entury

a n a bbreviated v ersion o f t he s tandard R oman a pproach ,

w ith

t he b ound M arsyas s tanding a gainst a t ree t o t he r ight, a nd A pollo s eated a t t he

l eft .3 1

T here

i s n o

r eal

n eed

t o

s eek a s pecific m odel

f or w hat i s

e ssentially o nly a j uxtaposition o f t wo s tock f igures. Two p rovincial r eliefs d eviate more f reely f rom t he e stablished t radition, a lthough b oth p reserve t he c onvention o f t he s tanding b ound M arsyas . An aively f igured s arcophagus s ide p anel f rom A quincum ( 37 , l ater 2 nd c entury A .D .?) g ives M arsyas a t t he l eft, w ith a S cythian k nife-grinder c rouching a longside . T he w ork i s o nly r emarkable i n i ts r ejection o f t he s eated A pollo u sual f or t his e pisode ; i nstead , t he s cene i s c losed a t t he r ight b y a s tanding A pollo b ased o n ac ommonplace s culptural t ype . P erhaps t he c arver j ust k new o f t he b ound M arsyas t hrough w orks f eaturing M arsyas a lone ( 42 a , b ; C 5 a ? C 6 a -c? - b elow), o r r elied o n a more g eneralised b ound

c aptive

s chema ,

a nd a ssembled

a c omposite

i mage o ut

o f

t ypes

w ith

w hich h e w as f amiliar ; o r i t m ay b e t he s ubstitution w as m ade o n p urely a esthetic g rounds, a f rontal, s tanding A pollo b eing c onsidered b y a l ocal c lient o r c arver a m ore e ffective m atch f or t he s tanding M arsyas . D amage t o t he r elief b lock f rom B ordeaux 3 9

( 2nd t o 3 rd

c entury A .D .?)

i s t oo s evere t o p ermit d etailed a nalysis, b ut f rom h is p osition i n r elation

5 0

t o t wo o ther f ragmentary f igures , i t s eems M arsyas , h is a rms s ecured b ehind h is b ack , must h ave b een s tanding r ather t han s eated . t ied

t o

t he

t ree

b eside h im ,

a s o n Xb a nd 3 6 .

A p air o f f lutes i s

R emaining t races o f

t he

a ccompanying f igures g ive n o c lear i ndication o f t heir i dentity , b ut s uggest t he

o verall

v ariations

c omposition d id o n

t he

s tandard

n ot

c onform

p attern .

T he

p recisely f igure

t o

t o

t he k nown r ange o f

t he

l eft,

s maller

i n

s cale t han M arsyas , m ight c onceivably b e O lympos o r a S cythian , t he a rching f olds o f d rapery a t t he l ower r ight c orner o f t he b lock p erhaps t he s houlder o f A pollo 's c loak,

a lways p resuming h e was s eated.

a rchitectural s tructure i n t he b ackground,

V estiges o f s ome

p ossibly a n a ltar,

f ind a

p arallel i n t he s tela' o f I V aa nd V b , a nd h int a t a s anctuary s etting. C . R obert p roposed t hat a l ost s arcophagus s ide p anel ( 40), o nce i n R ome a nd

r ecorded

o nly

i n a b rief

d escription ,

m ay h ave c arried a d esign

s imilar t o t hat o f 3 7 . I n t he c ontext o f t he w idespread a ppearance o f a s eated A pollo i n c onjunction w ith t he b ound M arsyas, p erhaps a g rouping s imilar t o t he A pollo - S cythian - M arsyas c ombinations o f V b o r X b /c i s a more

l ikely

s upposition .

B ut

d emands

o f

r estricted

s pace,

o r

a cquaintance w ith e xamples o f t he u se o f a s tanding A pollo i n s arcophagus e nd p anel h anging M arsyas s cenes, c ould h ave p rompted v ariation f rom t he s tandard a pproach. 3 2 J ust a s

t he d isconsolate a nd h anging Marsyas were r epresented a s

s olitary f igures, s o t oo was t he b ound Marsyas. A gain h e i s d epicted s tanding . T he f act t hat s uch f igures must h ave b een r ecognisable i n i solation i mplies, a nd s o i n t his c ase f urther c onfirms, t he e xistence o f a w idely k nown m odel o r v isual t radition .

A lthough o n t he i taglio p aste g em

4 2 a ( 1st c entury B .C . o r A .D .) n o t ree a ppears, t he d iscarded f lutes a t t he c aptive 's f eet ( cf. 3 4) a llow l ittle d oubt t hat Marsyas was i ntended . P resented i n a t hree-quarter r ear v iew , t he f igure d isplays v ery much t he s ame o blique l ine a cross t he s houlders a s t he b ound M arsyas o f I V ca nd 3 8 , a nd m ay d erive u ltimately f rom a r elated m odel . o ffers a n i dentical b ound f igure w hich , b e i dentified b y a nalogy w ith 4 2 a .

As imilarly d ated g em 4 2 b

s ince n o f lutes a re s hown , T hree

f ragmentary

f rom t he v icinity o f A rles a nd R heims ( C6 a -c ,

r elief

c an o nly

s culptures

i st t o 3 rd c entury A .D .?) o f

a s tanding, b earded c aptive c an o nly b e mentioned a s p ossible Marsyas f igures , i n t he a bsence o f a ny s pecific a ttribute , s uch a s t he f lutes . T he t ree b ehind f igures a (?) a nd d efinitive i dentifying f actor .3 3 i n c onjunction w ith o ther b een c ombined

t o

b i s a ppropriate, b ut c ertainly n ot a N one a re r ecorded t o h ave b een d iscovered

-

f igures,

w ith w hich

t hey m ight

o riginally h ave

f orm a m ore c omprehensive s cene o r g roup .

s olitary M arsyas f igures, d ecorative f unction , f igure h as s urvived ,

p erhaps

t hey p erformed

I f a ny w ere

s ome a rchitectonic o r

a s t elamon-figures f or e xample . C ertainly o ne s uch i n t he s mall b ound M arsyas w ho a cts a s a s upport f or

t he c ithara o f a l arger f ree-standing s tatue o f A pollo ( 93,

I mperial) .

T here i s l ittle e vidence f rom t he R oman b ound M arsyas s cenes t hat o nce a p rototype d esign h ad b een e volved which , i n u pdating a nd a dapting s ome a spects o f a n i conography l argely i ndigenous t o C entral I taly f ulfilled t he a esthetic r equirements o f t he l ate i st c entury B .C . o r e arly i st c entury A 01 , R oman a rtists w ere s ubsequently m otivated t o d epart f ar f rom i t . v ariation w as d ependant u pon a r e-arrangement o f c omponents o f t he

M ost b asic

d esign i n b uilding-block f ashion , w ith o ccasional r esort b y i ndividual a rtists t o m otifs a nd s chemata i mported t o e xtend t heir r epertoire o f f orms . U nder

t hese c ircumstances,

t he m ain i ndicator

o f

c reative

s uccess

i s

t he

r elative d egree o f s kill w ith w hich t he v arious e lements w ere d eployed a nd r e-stated , a nd h ow e ffectively a s ense o f i nternal u nity w as i mposed u pon

5 1

t he r esulting c omposition .

F or i nstance ,

I II b a nd X b /c s ucceed i n t his

r espect, w here I I a /b a nd 3 7 e vidently f ail. T he

i mpression g iven b y t he s urviving w orks o f a n i ncreasing r eadiness,

f rom t he F lavian p eriod o n , t o e xperiment w ith t he s tructure o f t he r eceived s cheme

m ay

m ark a g rowing

p erception o f

r ather s tatic o riginal d esign . d evelopment i nterest

o f

i n

t he

t he

d esign

t heme,

s ignificant

a nd

t he

T here

c hallenge

i nherent

a ppears

e nough t he

t o

l imitations

t o h ave i nspire

e ventual

o f

t he

b een n o l ater a r esurgence

a scendency

o f

o f t he

a lternative t radition w ith M arsyas h anging. F or , e ven d iscounting s culptural c opies o f t he P ergamene h anging M arsyas ( A69 i - x xii) t he c onsiderably g reater n umber o f p reserved R oman w orks p ortraying M arsyas h anging s uggests t his w as f ar t he m ore p opular o f t he t wo p ossible e ndings t o t he s tory . M uch o f i ts s uccess must h ave b een d ue t o t he i nfluence o f t he P ergamene o riginal, t hrough i ts many c opies a nd v ariations ,

e specially , o ne s uspects, b ecause o f t he d irect e motional a ppeal

o f i ts i magery . T he motif o f t he b ound M arsyas i s u nderstated b y c omparison , a nd , t hrough i ts s hared i conography w ith m ilitary c aptives a nd o ther m ythological a dligati , i t m ay h ave b een l ess i nstantly r ecognisable . I t c ertainly f ound o nly v ery l imited f avour w ith t he c arvers o f s arcophagi , a nd l ater e xamples a re r elatively f ew .

5 2

C hapter 5 M ARSYAS H ANGING T he t heme o f M arsyas h anging f ound e xpression i n s culpture f rom a s e arly a s

t he t hird q uarter o f

t o h ave

t he 5 th c entury B .C .

( A67) ,

b ut

i t d oes n ot a ppear

a chieved much p rominence b efore t he c reation o f a s culpture-group

w hich i s

i dentified s tylistically w ith t he a rtistic o utput o f P ergamon

t he l ate 3 rd t o e arly 2 nd c entury B .C .' a nd n o s culptural c opy o f t he g roup

i n

A ll t race o f t he o riginal i s l ost,

a s a w hole s urvives .

N or i s t here a ny

c ontemporary r ecord t o s uggest t hat i t w as f amous i n i ts o wn d ay ; b ut t his c an s urely b e i nferred f rom t he r ange o f v ariations b ased u pon i t i n o ther m edia ,

a nd a bove a ll f rom t he s eries o f R oman c opies o f i ndividual f igures

w ithin t he g roup , w hich r eveal i t t o h ave b een a w ork o f p hysical p ower a nd p sychological i ntensity . T here c an b e l ittle d oubt t hat t he R oman a pproach t o t he r epresentation o f M arsyas h anging w as l argely d ominated b y t he s pirit o f t his d efinitive w ork .

T he p olitical l inks b uilt u p b etween P ergamon a nd R ome f rom t he 2 nd

c entury B .C .

o n c ould c ertainly h ave p rovided a n o pportunity f or i ts

r enown

t o t ravel. I n t he a bsence o f more d irect e vidence, r econstruction o f c opies

o f

t he g roup i s

M arsyas

h anging

a nd

f ounded

u pon

a S cythian

t he most w idely a ccepted

t he

c ombination o f

k nife-grinder ,

s culptural

t ogether

w ith

a

s eated A pollo o f at ype w hich w as d iscovered i n a f ragmentary m arble v ersion a t P ergamon . T he m ultiple l arge-scale c opies o f M arsyas a nd t he S cythian a ppear t o c onfirm t heir p art

i n t he s cheme ,

w hile f or t he A pollo ,

b esides

t he s tatue f ragment, w e h ave t o r ely u pon t he o ccasional r ecurrence o f t he t ype i n h anging s cenes i n o ther m edia . R oman c opies p ortray M arsyas s uspended b y t he w rists f rom a t ree-trunk , h is

b ody

e xtended

t autly ,

h is

f ace

V ariations i n s tyle a nd e xpression ,

o ften

r egistering

p ain

a nd

f ear .

a nd t he e xistence o f a r ed marble c opy

( A69 v i) i n w hich t he t raits o f p hysical t ension a nd e motion a re e specially e xaggerated , o riginal

h ave

' red '

l ed

v ariant,

t o

s peculation t hat

p erhaps

l ocated

t here

i n

m ay h ave b een a s eparate

A lexandria .2

T he

A lexandrian

c oin 7 3 ( Antoninus P ius, f ig . 3 9) may c onceivably r eflect s ome l arge-scale m onument, b ut w e h ave n o w ay o f t elling f inally w hether t his a mounted t o m ore

t han

a l ocal

i nterpretation o f

t he

P ergamene g roup .

T he

r etrieval

f rom H alicarnassus o f aH ellenistic M arsyas ( A68 , p ost M ausolus) e xecuted i n w hite m arble ,

b ut b earing v estiges o f r ed p aint,

i ndicates t hat s uch u se o f

c olour w as n ot a p ractice e xclusive t o A lexandria , t here

a t

w ith a ny

a ll .

W eighing a gainst

a d irect

s upposed A lexandrian v ariant

i s

i f

i ndeed i t o riginated

c onnection o f t he

s trong

b etween t he t reatment o f t he f ace o f t he r ed c opy A 69 v i , d ead g iant A thens:3

r elated

t o

t he

s mall

P ergamene

t he

' red ' v ersion

s tylistic

s imilarity

a nd t hat o f t he

d edication o n t he A cropolis

a t

V ariations i n s tyle a mongst t he c opies n eed r eflect n o m ore t han

v arying p references o f d ifferent c opyists a nd c lients . B ut t he u se o f c olour may h ave b een s ignificant, e ither a s t he r ecollection o f t he c olour o f a b ronze o riginal, o r a s a n a ttempt t o e xploit t he q ualities o f t he c opying medium, p articularly where t he s tone i s r ed-veined, a s i n two f urther r ed v ersions ( A69 v ii a nd x viii) , t o e mphasise t he b rutality a nd

5 3

p athos o f t he s ituation . H ardly s urprisingly ,

R oman r epresentations o f t he h anging M arsyas o ther

t han t he l arge-scale c opies ( t e i69 i - x xii) t end t o c onform f airly c losely t o t he

P ergamene

t ype .

g enerally s imilar , s ingle t hong ,

T he

a nd h e

i s

p hysical c ommonly

c haracteristics

o f

t he

s hown d istinctively

s atyr a re

s uspended b y a

w hich b inds h is w rists t ogether s o t hat t hey c ross o ne b efore

o r a bove t he o ther .4 H owever , q uite o ften s ome c ompression o f t he f igure r esulted f rom i ts h aving b een a dapted t o f it a v ertically r estricted f ield : t he a rms m ay n ot b e f ully e xtended , w ith

t he g round .

o r t he f eet m ay a ppear t o b e i n c ontact

W hen p resented f rontally ,

M arsyas

i s

s ometimes s een t o

h ang b efore o r a s pray o f f oliage d enoting t he t ree . T here i s n o p arallel f or t his s horthand a pproach a mongst t he f ew s urviving p re-Roman e xamples i t c ould s imply c orrespond t o t he f rontal v iew o f a t hree-dimensional c opy , i n w hich

t he h anging

e xplained i s

b ody m ay o bscure t he s upporting t ree .5

L ess e asily

t he b owed t ree f rom w hich m any R oman t hree-quarter v iew a nd

p rofile f igures a re s uspended .

T his f ormula r ecurs u pon a n umber o f g ems,

w here t he o val f ormat m ight n aturally h ave l ent i tself t o s uch a s olution , b ut i ts a pplication w ithin a n u pright r ectangular p anel u pon t wo i mportant R oman r eliefs , 4 9 ( Augustan , f ig . 4 3) a nd 5 2 ( 2nd c entury A .D .) , s uggests i t m ust h ave b een d eveloped i ndependently . T he f ormula s eems t o h ave b ecome w idely k nown ,

a ppearing i n w orks i n a r ange o f d ifferent m edia d uring t he

i st a nd 2 nd c enturies A . 11 6 N o f ree-standing m arble c opy c ould b e e xpected t o r eproduce s uch a f eature ; t he p roximity o f t he t ree o ffered v ital s up 2o rt f or t he h eavy b ut f ragile f igure . B ut t he s uspension o f t he o riginal P ergamene M arsyas f rom a b owed t ree c ould h ave b een t echnically f easible i f t he s tatue-group h ad i ndeed b een e xecuted i n b ronze .7 A lthough d iverging i n o ther d etails , t he t wo r eliefs j ust c ited ( 49 a nd 5 2), a marble o scillum ( 50, l ater i st c entury A .D .?) a nd a n i ntaglio g em ( 68 , i st t o 2 nd c entury A . 11) f eature , a long w ith M arsyas h anging f rom a b owed t ree , a n A pollo c onforming t o t he t ype a ssociated w ith t he P ergamene g roup : s eated a nd l eaning b ack a l ittle i n a r elaxed p osture , w ith h is r ight h and r aised u p o ver h is h ead .8 T he r emains o f t he t orso o f A pollo f rom P ergamon a re n ot s ubstantial e nough t o t ell w hether t he g od s upported h is l yre o r c ithara i n h is l ap ( as o n 5 8 a nd 6 0) , w hether h e r ested h is l eft a rm u pon i t ,

s et o n t he g round a t h is s ide ( as o n 4 9 a nd 5 2) ,

o r i f s ome o ther

c onfiguration w as a dopted .9 p erhaps t he i mpressive f igure e mployed b y t he A ugustan r elief 4 9 m ay o ffer t he m ost a ccurate r eflection o f t he P ergamene A pollo ;

t he r elief ,

h anging

c omposition ,

a s w ell a s b eing t he e arliest s ignificant R oman M arsyas

a rtistic a chievement ,

a nd

o ne

o f

t he m ost

i mportant

i n

i ts

t echnical

a nd

s eems a lso t o e xhibit i be g reatest o verall c ongruence

w ith t he h ypothetical f orm o f t he l ost g roup . H owever , a s i n r epresentations o f o ther e pisodes, a nd a gain n o d oubt i n r esponse t o t he w ide r ange o f t ypes w hich w ere a vailable , m any R oman a rtists c hose

t o v ary

t he

f igure t ype o f A pollo u sed i n h anging s cenes .

w ere s till l argely s eated v ariants ;

o nly f ive w orks,

f rom

T hese

t he 2 nd

c entury

A .D . o r l ater ( 53, 5 5, 5 8, 6 1, 7 2), b reak w ith t he c onvention p revailing b oth h ere a nd i n t he b ound M arsyas t radition d uring t he R oman p eriod , b y i ncluding a s tanding A pollo . I t w as n ot u ncommon f or A pollo t o b e o mitted f rom R oman M arsyas h anging s cenes, e specially w here a s mall-scale w ork w as c oncerned , o r i f t he s cene w as p art o f a c yclic s eries , i n w hich A pollo h ad a ppeared i n a nother e pisode . T he r ecovery o f a b ronze k nife-handle f rom a t omb a t N orcia ( A70 , p erhaps 2 nd c entury B .C .) , d ecorated o nly w ith t hat

t he

P ergamene f ormula w as k nown i n C entral I taly p rior t o I mperial t imes,

t he h anging Marsyas a nd a S cythian k nife-grinder,

a nd

5 4

i ndicates

t hat i ts i ndividual c omponents, a lready s ubject t o v ariation . R oman f igure ,

s culptural

c opies

w ith b arbarous

o f

f eatures

c learly n ot r egarded a s i nseparable ,

w ere

t he P ergamene k nife-grinder s how a s tocky a nd n aked

e xcept

f or a c loak t hat

t rails

f rom h is l eft s houlder , w ho w orks t he b lade o f a k nife a gainst a n o blong w hetstone s et o n t he g round b efore h im . A s h e c rouches , l eft k nee r aised t owards h is c hest , h is h ead t urns a way t o t he l eft , p robably t o a llow h im t o g lance u p a t t he h anging M arsyas ; t his w as c ertainly P hilostratus J unior 's i nterpretation o f t he p ose, a nd i t i s u sual f or t he S cythian t o l ook u p t owards

M arsyas

i n R oman h anging

s cenes ,

r ather

t han

t o

f ace

a way

f rom

h im ." S ince t he s ubtlety o f t he p ose w as v irtually i mpossible t o r ender i n r elief a nd o ther s ingle-viewpoint m edia , t he S cythian g enerally a ppears i n p rofile , l ooking s traight u p a t M arsyas ; b ut i n j ust a f ew i nstances , l ess e ffective e ven t hough m ore f aithful t o t he o riginal , h e l ooks b ack a t h is v ictim o ver h is l eft s houlder .1 2 T his f orced p ractical m odification a part , t he p osture o f t he S cythian w as o ften d uplicated q uite e xactly , i n s pite o f t he v aried a dditions made t o h is c ostume - mainly w ith t he i ntention o f d efining h is b arbarian s tatus ; s o h e i s f requently d ressed i n a P hrygian b onnet, a nd s ome f orm o f e astern t unic, o ften w ith l eggings. T he t wo i ndividual c omponent f igures o f t he P ergamene g roup f ound r eproduced i n f ull-scale R oman c opies, M arsyas a nd t he S cythian , s eem t o h ave p layed a n a rchetypal r ole i n t he f ormation o f t he R oman i conography o f t his e pisode , b ut w e k now l ittle o f t he m anner i n w hich t hey w ere d isplayed . U ndoubtedly m any o f t he M arsyas s tatues w ill h ave b een e xhibited s eparately , l ike c opies o f t he M yronian M arsyas . A r ange o f d ecorative a nd s mall s cale a pplications o f a s olitary h anging M arsyas i ndicate t his w ould h ave b een u nexceptiona _1 .1 3 E ven t hough t he k nife-grinder i s ap owerful f igure i n h is o wn r ight , h e r eally r equires t he p resence o f M arsyas t o e stablish a c ontext f or h is a ction , a nd s o i t s eems a f air a ssumption t hat t he p air m ust o n o ccasion h ave b een d isplayed a s a n e nsemble . B ut w e l ack a ny e vidence t hat ac opy o f t he P ergamene t ype o f A pollo w as e ver c ombined w ith t he t wo o ther f igures t o f ully r econstruct t he g roup i n R oman I taly , a nd t here i s n o c onsistency o f a pproach i n t he s election o f v ariations i n o ther m edia w hich m ight c onfirm s uch a c ombination . I n f act, t he k ey a rrangement o f M arsyas , t he S cythian a nd a s eated A pollo , c orresponding t o t he g enerally a ccepted c haracter o f t he P ergamene g roup , i s o nly t reated o n i ts o wn i n a h andful o f R oman h anging s cenes , a nd e ven t hen w ith l ittle u nanimity o f d etail .1 4 Y et t his s imple t hree-figure g roup , h owever v ariable i n f orm , s till c onstituted t he b asis f or t he d evelopment o f t he R oman t radition . T hus, p aradoxically , w hile e lements o f t he P ergamene c omposition w ere f undamental t o t he c reation o f t he R oman i conography , t he r eadiness w ith w hich i mportant n ew f eatures w ere a bsorbed a rgues , l ike t he a bsence o f a ny c oherent i mage o f t he P ergamene s cheme , a gainst s upposing t hat t he P ergamene i nput w as c onveyed t hrough i ntimate k nowledge o f t he g roup a s aw hole . T he c ourse o f t he R oman d evelopment a nd e xploitation o f t he P ergamene f ormula c an b e s ummarised b riefly , a s f ollows . F irstly , t here i s e vidence f or t he f ormation o f a m ajor e xtended c omposition , i ncorporating a s econd S cythian e xecutioner w ho a ssists t he k nife-grinder , a p leading O lympos , a nd N ike c arrying a v ictory p alm t o A pollo , m aking s ix f igures i n a ll . M any l ess c omprehensive s cenes , i ncluding t he h anging s cenes o n t he m ajority o f t he s arcophagi , a ppear t o h ave b een d erived f rom t his e xpanded r epertoire . S econdly , w e h ave t he l imited n umber o f w orks o bserved t o h ave r elied l oosely o n t he b asic P ergamene l ine-up ; t his f ormula was o ccasionally s upplemented w ith a p leading O lympos , p resumably i nspired b y h is a ppearance

5 5

i n e ither t he major e xtended v ersion,

o r t he b ound Marsyas t radition .

T hirdly , t here e xists a s eries o f a bbreviated s cenes, w hich m ight e qually h ave b een a bstracted f rom t he o riginal P ergamene s cheme, o r f rom t he e xtended v ersion ; T he

most

t here i s s eldom a ny i ndication w hich .

i mportant

i nnovation f or

t he R oman i conography was

t he

i ntroduction o f t he s econd S cythian , h auling u pon a r ope which s ecures M arsyas ' h ands t o t he t ree a bove h is h ead . D ynamic m ovement i s i njected i nto a s cene o therwise f ull o f f oreboding a nticipation , b ut l ow o n a ction . W e

a re

s hown

a n

i mmediate

p rocess

i n

p lace

o f

a p osed

t ransformation i n k eeping with t he R oman a ppreciation o f

t ableau ,

a

t he g raphic

r epresentation o f n arrative i n p rogress . T he o rigin o f t he S cythian r opep uller i s n ot e ntirely c lear ; h e m ay h ave b een a dapted f rom a n e xisting f igure-type - Z ethus ( or A mphion ) w ho r estrains t he b ull w ith a r ope b efore t he p unishment o f D irce i s a p ossible c andidate, a nd t he t hematic c onnection , t he p unishment o f a t ransgressor , c ould h ave p rompted t he i dea i nitially .1 5

T he n ew motif was a pplied

w ith

s ome

f reedom:

t he

t wo

e xecutioners m ay a ppear t ogether a s a u nit, t o l eft o r r ight o f t he h anging M arsyas, o r b e d isposed s eparately , o ne o n e ither s ide o f h im . S ometimes , t hough , r equirements o f t he s pecific f ormat t o b e f illed must h ave d ecided t heir p osition . T hose M arsyas s arcophagi w here b oth a re f eatured o ffer a g ood i llustration o f t his p rinciple : w here t he f ront p anel i s f lat, t he h anging M arsyas p rovides a s trong t ermination f or t he d esign a t h and e nd ,

a nd t he S cythian p air a re a ccommodated t o h is l eft ;

c urved e nd o f a l enos

t ype s arcophagus

p ictorial f ield t o t he r ight,

t he r ight-

b ut w here t he

p ermits a l ateral e xtension o f

t he

o ne o r b oth a re l ocated t o M arsyas ' r ight .1 6

N either t he s econd S cythian , n or t he o ther t wo n ew e lements , O lympos p leading a nd N ike, a ppear s ingly o r t ogether i n a ny p reserved h anging M arsyas s cene b efore t he l ater i st c entury A 01 , w hen t hey a ll f eature i n t he e arliest s urviving e xample o f t he major e xtended c omposition, t he G aulish c eramic

medallion 4 5

( fig .

4 2) .

T his

h owever, p resuppose a n e arlier p rototype, v ariations u pon i ts d esign f ound e lsewhere . t hat

t he

M arsyas

p leading O lympos i conography ,

b ut

w as

work d oes,

t aken o ver f rom t he w ell e stablished b ound

t here

i s

n o

e vidence

R oman M arsyas e pisode b efore t his t ime .

t hat

N ike

T herefore i t

was i ntroduced f rom s ome o utside c ontext e xtended d esign .

p rovincial

i n v iew o f t he n umber o f I t i s r easonable t o a ssume

i s

o ccurred

i n a ny

l ikely t hat s he

i nto t he p rototype f or t his

1 7

T he R oman h anging M arsyas s cenes a re g rouped b elow f or d iscussion s olely a ccording t o t he n umber o f c omponent f igures , h ighest b ody-count d ivision ,

b ut

i t

s tarting f rom t hose w ith t he

( six o r m ore) a nd w orking o n d own . e ffectively

p arallels

t he

m ore

o r

I t i s a n a rbitrary l ess

s traightforward

p rocess o f r eduction b y w hich m any w ere c omposed , a nd g ives t he c learest f ramework f or e valuating t he w ays t he a vailable f und o f m otifs w ere a pplied , a bstracted a nd s ometimes a ugmented. T he c eramic m edallion 4 5 g ives t he f irst a nd m ost c omplete i ntimation o f t he e xtended p rototype c omposition , a nd, l ike t he c ontest s cene o f t he s imilar G aulish m edallion 1 2, i t o ffers a n i mportant e arly r eflection o f a d esign t o f eature l ater o n s arcophagi . I ts p rovincial m anufacture p robably a ccounts f or o ne o r t wo m inor a nomalies w hich n eed n ot b e p ut d own t o t he p rototype i tself . I n t he f oreground a t t he l eft c rouches a n ude k nifeg rinder , v ery m uch i n t he P ergamene m ould . H is a ssistant, c lad i n E astern g arments a nd p ulling a t a longside ,

b ut

s et

t he r ope w hich f ixes

s lightly b ack f rom

5 6

t he

M arsyas

f oreground

t o

t he

p lane .

t ree ,

s tands

A m ajestic

A pollo,

l arger-scale t han t he o ther f igures,

u nusual g esture ,

i s e nthroned a t t he r ight ;

i n w hich h e b rings h is r ight h and u p b efore h is c hin ,

h is d oes

n ot f ind a n e xact p arallel i n o ther M arsyas s cenes - e xcept p erhaps i n t he v eiling a ction o f t he g oddess

s eated

a t

t he

r ight

i n a n umber o f

c ontest

s cenes . T wice w e f ind a v ariant o f t he P ergamene t ype o f A pollo l ifting h is m antle t o v eil h imself i n p unishment s cenes ( III b , M arsyas b ound ; 5 2 , h anging) ,

s o p erhaps h ere t oo s uch a n a ction w as i ntended .

r idges i mmediately t o t he l eft o f A pollo , a ppear

t o

b e a s tylised

i ndication o f

t he

T he s eries o f

s ignifying a n u pright s tructure , b ack o f

t he g od 's

t hrone ;

f rom

b ehind t his emerges a w inged N ike, c arrying a wand o r p alm .1 8 T he o therwise f amilar p leading O lympos i s v aried , i n t hat h e s tands t o d eliver h is a ppeal ; o nly t hus c an h e r each u p e ven a s f ar a s t he o utsize A pollo 's k nee - a nd t his d ifferential i n s cale p robably e xplains t he m odification t o h is u sual p ose. I f l ater r epetition o r v ariation o f p art o f t he d esign r eveals s ome w ider i nfluence t o b e a t w ork , i t i s t he r eproduction o f a ll t he p rincipal c omponents o f t his f ormula u pon s arcophagus X II ( scenes a /c ;

A .D .

2 00,

s cene,

f ig .

5 3),

a lbeit d ivided i n t wo,

t o f lank a c ontest

1 70/180 which

s ignifies t here m ust u ltimately h ave b een a p rototype c ommon t o b oth .

T he

g roup o f t wo S cythians a nd t he h anging Marsyas r emains a s a u nit, n ow l ocated a t t he r ight o f t he p anel, s o t hat t he t all s uspended f igure e ffectively c loses o ff t he s cene . V ertical r estriction o f t he f ield h as r equired

t he

c ompression

o f

t owards h is e xecutioners . b e l ess e mphatic . i mportant r espect ,

M arsyas ' T he

p osture ,

r ope-puller 's

a nd

h e

a ctions

n ow

f aces

s omewhat

c onsequently n eed

t o

T his a part , t he f igures a re much t he s ame , e xcept i n o ne n amely t hat t he c rouching S cythian g rips M arsyas ' r ight

s hin w ith h is l eft h and .

A lmost c ertainly h e w as c ommencing t he f laying

p rocess, b ut u nfortunately h is r ight h and , w hich w ould h ave h eld t he k nife , i s l ost . 19 A pollo i s e nthroned t o t he l eft o f t he i ntervening c ontest s cene , w ith a p alm-bearing N ike s tanding b ehind h im a nd O lympos p leading a t h is f eet; a p air o f f lutes l ies n eglected i n t he f oreground, a p oignant d etail s hared w ith t he b ound M arsyas t radition , b ut w hich i n t his i nstance m ay d erive f rom t he p rototype o f t he e xtended h anging M arsyas c omposition .2 0 I n t he b ackground o f t his s ection o f t he s cene ( a) t hree Muses l ook o n . S trictly s peaking , t hey a re a n o ver-spill f rom t he c ontest s cene, w here t he s ix r emaining M uses a re f ound , t he p rototype c omposition .

a nd n eed n ot b e c onsidered a s b elonging t o T heir p resence h elps a ssimilate t his s elf-

c ontained s ection i nto t he o verall d esign o f t he s arcophagus p anel .

I t i s

n ot p ossible t o d etermine c onclusively whether t he a rrangement o n X II r estores t he o riginal a lignment o f t he p rototype , i n p lacing t he e xecution a t t he r ight, a lthough t he o verwhelming majority o f s urviving v ersions w here t wo e xecutioners a ppear d o l ocate t he p unishment a t t he r ight. T he

p robability h as

a lready b een a dvanced t hat

t he c arver o f t he l ost

s arcophagus X III ( late 2 nd c entury A .D .?; f ig . 5 4) may h ave a ttempted t o c ondense t he k ey e lements o f t he p rototype a ppearing o n X II i nto a c ombined c ontest-punishment s cene, p erhaps r ecognising t he s hortcomings o f a c ontinuous s equence .21

n arrative

f rieze

which

c ould

n ot

b e

A s f ar a s t he d amaged c ondition o f

r ead

i n

a ny

l ogical

t he s arcophagus when

r ecorded w ill a llow u s t o t ell , t he e xecution s quad a t t he r ight w as o f a s imilar c haracter t o t hat o f X II , t hat w hich c ontinued t o r epresent t he s tandard f igure-grouping o n f lat-fronted s arcophagi . B ut t he s ubstitution o n X III o f t he A pollo-Nike u nit o f X II f or t he m ore u sual c ompeting A pollo w as h ardly a s uccess : t he s ubstitute A pollo h ad t o f ace t he p unishment s cene t o f ulfil t he p art o f h is d ual f unction r elating t o t he e xecution . T his n ecessitated a m ajor d isruption t o t he s trong t raditional c ontest d esign ;

5 7

n or d id t he c oherence o f t he p unishment a spect o f t his v ariation b enefit - a f ragmentary c rouching f igure may h ave b een t he p leading O lympos,

u nhappily

d isplaced , a long w ith t he B acchic t rio , h is n eighbours o n X II , t o t he r ighth and p eriphery o f t he c ontest s cene ,

f ar f rom A pollo .

N o e vidence s urvives

o f a ny l ater r eturn t o t his c ompromise s olution , a nd w hilst t he i solation o f M arsyas a nd t he t wo S cythians t o t he r ight o f t he c ontest s cene r emained t he p referred f ormula o n M arsyas s arcophagi r ight t o t he e nd o f t he 3 rd c entury MI , t he c orresponding s ection a t t he l eft , c ompleting t he d ivided p unishment ,

a lso a ppears t o h ave b een d ropped f rom t he r epertoire ,

t o m ake

s pace f or t he i nitial e pisode o f A thena w ith t he f lutes . A f ragmentary r elief p anel f rom t he amphitheatre a t C apua ( VIII; p robably H adrianic) p reserves a n a nalogous d ivision o f a h anging s cene , t o f rame a n a bbreviated c ontest e pisode i n a c ontinuous n arrative s tyle c omposition .

A t t he r ight o f t he l arger s ection o f t he p anel a re M arsyas

a nd t he t wo S cythians, t he p air h ere f lanking t he h anging v ictim , w ith t he r ope-puller t ransferred t o t he r ight . T he r emains o f a s econd , f luteb lowing M arsyas a ppear i n t he b ackground t o t he l eft .

A m inor f ragment

f rom t he n ow missing l eftward e xtension o f t he p anel c arries o nly t he p artial f igure o f ap leading O lympos : s ufficient, a t l east , t o i ndicate t hat s ome

f orm

o f

d ivided

p unishment

s cene h ad

b een d epicted .

T he

s urviving

f ragments r epresent s omething o ver h alf o f t he p robable a rea o f t he o riginal p anel ,

a nd s o s omewhere b etween o ne a nd t hree f igures m ay h ave b een l ost .

C learly A pollo must h ave b een p resent ,

f or w ithout h im a p leading O lympos

w ould b e r edundant , a nd h e must s urely h ave b een l ocated t owards t he l eft e nd o f t he p anel, s ince i t i s t owards t his s ector t hat O lympos d irects h is a ppeal .

A pollo

a ccompanied

b y

may ,

a s

N ike .

o n

4 5,

N othing

X II

r emains

a nd X III,

h ave

t o d isclose

b een

w hether

s eated

t he

a nd

o bviously

r estricted c ontest e pisode c ontained m ore t han t he s olitary f luting M arsyas , a s econd A pollo ,

f or e xample .

c omposition o f X II a nd X III, S cythians,

a nd

t he

T his a rrangment b ears c omparison w ith t he b ut v ariation i n t he

l imited s cope o f t he c ontest

r esemblance may b e f ortuitous.

d isposition o f

e pisode,

s uggest

t he t he

I t i s h ard t o e nvisage h ow V III might

r elect a ny e volutionary s tep t owards t he d esign a ppearing o n t he s arcophagi , w hich s eem t o d epend q uite d irectly u pon a n e xtended p rototype f or b oth s cenes . A more t enable s uggestion i s t hat V III was a o ne-off l ocal e xperiment, i n which a r eference t o t he c ontest was i ntroduced i nto a c onventional h anging s cene , i n o rder t o f ill o ut o ne o f t he m any r egulars ized p anels w hich t he d ecoration o f t he v omitoria a t C apua d emanded. T he ( later

m osaicist 3 nd

w ho

c entury

c omposed

A .D .?)

t he

a lso

p olychrome e mblema V I b f rom

a dapted

h is

s ource

material

B accano f reely ,

c ompetently i ntegrating f igures a nd l andscape s etting . B ut i t i s s till e vident t he d esign was b ased o n a v ersion o f t he e xtended p rototype . M arsyas

i s s hown s uspended f rom a t all t ree a t

t he l eft ,

w hile a b earded

e xecutioner , h is l eft l eg b raced a gainst t he t ree t runk , p ulls a t t he r ope w hich s ecures t he s atyr 's a nkles ; n earby l ie t he d iscarded f lutes .2 2 T he k nife-grinder h as b een o mitted , a nd a n ew c haracter , A rtemis, i ntroduced ; s he i s, o f c ourse , a n atural c ompanion f or h er b rother A pollo , a lthough s he a ppears w ith c ertainty i n n o o ther s urviving R oman p unishment s cene . H er o ccasional i nclusion .

a ppearance

a s

a s pectator a t

t he c ontest m ay h ave i nspired h er

T he f igure o f A pollo i s p artially o bscured b y a n a rea o f d amage

a t t he r ight,

b ut s eems t o h ave b een s eated a nd o f t he P ergamene t ype;

O lympos k neels i n t he f oreground i n h is c ustomary p osition b etween M arsyas a nd A pollo .

O f t he f inal f igure a t t he r ight , o nly t he h ead ,

r ight h and , h olding u p a w reath t owards A pollo , a re N ike w as i ntended , f ollowing t he e xtended p rototype .2 3

5 8

s houlders a nd

p reserved ;

p robably

T hese more

c omplex multi-figure

i mpression o f t he e xtended p rototype , f or e ssaying

a d efinitive

s cenes o ffer a m oderately c oherent e ven i f

r econstruction ,

t hey d o n ot

p rovide g rounds

i n t erms o f o rientation a nd t he

p recise p osture a nd l ocation o f f igures w ithin t he s cheme .

O n t he e vidence

o f 4 5 , t he p rototype c ould n ot h ave b een c reated m uch l ater t han t he m id i st c entury A .D . ;

s ince t he m otif o f t he p leading O lympos a ppears t o h ave b een

t aken o ver f rom t he b ound M arsyas i conography , w here i t i s f irst e ncountered i n

t he A ugustan p eriod ,

t he

p rototype

i s

u nlikely

t o h ave

b een

d eveloped

b efore t hat t ime. T here i s l ittle s ign o f a ny c onsistent t radition p revailing f or s cenes o f

f our

o r

f ive

u nconventional,

f igures,

which

v ariations,

t end

mainly

t o

b e

i ndividual,

s ometimes

i nvolving a s imple r ecombination o f

s tandard f igures f rom t he e stablished r epertoire. O nly two f ive-figure s cenes s urvive . m osaic

p avement

( 48 ;

l ate

4 th

t o

5 th

O ne, f rom a l ate p rovincial

c entury A .D .) ,

r emote d escendant o f t he e xtended p rototype .

i s

a n aively

e xecuted

A pollo s its e nthroned a t t he

r ight, a s a w inged a nd p alm-bearing N ike a pproaches h is l eft s houlder . g od a lready h olds a nother p alm f rond i n h is

r ight h and ,

a nd t his

T he

i s g iven

a dditional s upport b y aw ingless f emale f igure r ecalling i n h er p osition t he A rtemis o f V I b , a lthough h ere , h er i dentity i s u ncertain . U nlike t he o ther f igures, t he w hole a rea o f M arsyas 's b ody i s b locked-in w ith d ark t esserae , p erhaps i n a n a ttempt t o d enote t hat h e h as a lready b een f layed, a nalogous t o t he s culptural ' red ' M arsyas f igures ; a s tylised g out o f b lood o r v iscera p ouring

f rom

a dvanced

M arsyas '

s tage .

c entury A .D . k nife .

r ight

A s imilar

g lass

b owl

I n t he m osaic ,

( 74,

f lank

c onfirms

b leeding v ictim b elow) ,

t he i s

e xecution h as

r eached

a n

e ngraved u pon a l ater 4 th

w here a k neeling S cythian w ields t he

t he p osture o f

t he

e xecutioner

s tanding a longside

Marsyas, whose b lade s till h overs n ear t he wound, a ppears t o h ave b een m odelled o n t hat o f t he m ore u sual r ope-puller . T his d ivergence b etween 4 8 a nd 7 4 s uggests

t here w as n o s pecific v isual s timulus f or t he d evelopment ,

o nly a s hared i nterest i n t he b rutality o f t he p unishment - a lthough i t m ight r eflect a d istant r ecollection o f t he m inor R oman t radition , a ttested b y 5 8 a nd 6 1 ( below) , a s w ell a s X II ,

i n w hich a S cythian a pplies h is k nife

t o M arsyas' l eg. T he

l enos

s arcophagus

s cene X IX c ( mid

t o

l ater 3 rd c entury A 01 ,

f ig .

4 0) a lso h as f ive f igures . L ike i ts e quivalent o n a n umber o f s arcophagi , i t i s b ased o n a s ection o f t he e xtended p rototype , b ut h ere m odified b y t he a ddition o f t wo l ocation d eities .

T he s cene i s m ade u p o f

t hree s eparate

e lements ; t he f irst a nd m ain e lement i s af urther a daptation o f t he f ormula , d eveloped e arlier a nd u sed o n t he l enos s arcophagi X VI ( earlier 3 rd c entury A . 11)

a nd

X VIII

( A01

t he r ight o f M arsyas,

2 20-230) ,

w hich h ad

r epositioned

t he

r ope-puller

l eaving t he k nife-grinder t o h is l eft .

N ow ,

t o

o n X IX ,

t he k nife-grinder j oins h is f ellow e xecutioner a t t he r ight . T he s econd e lement i nvolves h is f ormer p lace b eing t aken b y a r eclining y outhful r iver d eity w ho w ears a P hrygian c ap ; t he h anging s cene o f X VIII ,

s uch a f igure h ad a lready b een e mployed i n

a lthough p laced r ather d ifferently .

T he r eason

f or t heir p resence i n t hese t wo s cenes must s urely h ave b een t o b alance a nd c omplement s imilar l ocation d eities i n t he A thena s cene a t t he l eft e nd o f e ach s arcophagus . T he u nusual p ose o f t he r iver-god i n X IX c - h e l ies w ith h is b ack t owards t he s pectator , e xtending h is r ight h and t o M arsyas i s a lmost c ertainly d erived f rom t he O lympos f ound r eclining i n t he f oreground o f t he c ontest s cene o f s arcophagi X IV ( below) a nd X VIII , a nd t ransferred t o t he h anging s cene o f t he c losely r elated s arcophagus X X ( mid t o l ater 3 rd c entury A .D ., f ig . 5 7); t he P hrygian c ap h e w ears p erhaps

5 9

c onfirms t he l ink , a lthough i t m ight a lternatively h ave s erved a s ar eminder o f t he s upposed P hrygian l ocation o f t he p unishment .2 4

T he f inal e lement

i s a nother s taffage f igure , a s tanding n ymph w ho t erminates t he s cene a t t he r ight; s he i s a c asual b ystander w ith n o r eal f unction b eyond t hat o f d efining t he b oundary o f t he s cene . P ossibly t he i ntention w as t hat s he s hould c ounterbalance t he y oung m ale l ocation d eity s tanding a t t he r ight o f s cene

X IX a .2 5

A lthough w ithout t he s tanding n ymph , e vidently o nly i ncluded a t t he w him o f t he c arver o f X IX , t wo - a nd p erhaps a t hird - f our-figure h anging s cenes o n l enos s arcophagi a re r elated t o t his s cheme , f eaturing , b esides M arsyas a nd t he two S cythians, a r eclining l ocation d eity ( XVIII c ) o r O lympos ( XX c ) .

T he

l ower

c ircumstantial a nalogous

a rea

e vidence

r eclining

o f

X VI c

s uggests

f igure .

i s

b roken

t he m issing O n a ll

away

p ortion m ay

a nd

l ost,

h ave

c arried

b ut a n

t hree s arcophagi t he k nife-grinder

a ppears t o t he l eft o f t he t ree a nd t he r ope-puller t o t he r ight ( with h is r ight l eg r aised u p a t t he b ase o f t he t ree o n X VI a nd X X); t he t hree s arcophagi ,

a long w ith X IX ,

t he a ccompanying s cenes .

s hare m any s imilarities o f d etail

i n t his

a nd

T hese l inks b etween t he f our s arcophagi i nitially

e stablish t he p ossibilty t hat a r eclining f igure m ight b e e xpected o n X VI . M oreover ,

t he m anner i n w hich t he r ope-puller o n X VI i s s et u p h igh a bove

t he b reak i mplies t he a bsence o f s ome s ignificant c omponent b elow .

T here

i s a r eclining r iver d eity i n X VI a w hich m ight, a s w ith t he A thena s cene o f X VIII a nd X IX , h ave r equired a c orresponding f igure i n t he h anging s cene . I n t he c ase o f X VI, a r iver d eity must b e r egarded a s more l ikely t han O lympos, s ince t he p osition h eld b y O lympos o n X X ( and h is t ransformed e quivalent o n X IX) i s a lready o ccupied o n X VI. 2 6 T he

r ight

e nd

p anel

o f

a Muse-sarcophagus

( 55 b ;

A .D .

2 30-240)

r eproduces w ith s ome a ccuracy t he v ersion o f t he f ormula w ith M arsyas f lanked b y h is e xecutioners a ppearing a t t he r ight e nd o f t he l enos s arcophagi X VI a nd X X ,

b ut t here i s n o r eclining r iver-deity o r O l y mpos .P

I nstead , A pollo s teps o ut t o t he l eft f rom b ehind a t ree , h is r ight h and r aised a s i f s till s triking t he s trings o f h is l yre . M arsyas ' p rincipal c onnection w ith t he Muses, who o ccupy t he f ront p anel, was t hrough h is musical r ivalry w ith A pollo, e ach b eing t he p roponent o f a n i nstrument f avoured b y o ne o f t he M uses - a nd s o i t w as i mportant f or t he g od t o b e i ncluded

h ere .

I n

t he

h anging

s cenes

o f

t he

c yclic

s arcophagi

A pollo 's

p resence c ould b e i nferred f rom h is a ppearance i n t he c ontest e pisode . s pite o f t he p recedent e stablished b y t he e xtended p rototype, P ergamene g roup A pollo

o n

t he

b efore

p anel

i t,

t he

5 5 b must

l imited h ave

s pace a vailable

m ade t he c hoice

f or

t he

I n

a nd t he

f igure

o f

o f a s tanding A pollo

i nevitable; e ven t hen , h e w as o nly a ccommodated w ith d ifficulty . S ome f eatures o f t he f our-figure d esign o n t he I mperial g em 6 1 a ppear t o b e a ssociated w ith t he i conography o f t he h anging Marsyas d eveloped o n s arcophagi, r ather t han d eriving more d irectly f rom e arlier p rototypes . M arsyas h angs c entrally , f lanked b y a n u nfamiliar t ype o f N ike t o t he r ight , a nd a s tanding A pollo t o t he l eft, w ho s till p lays h is i nstrument ; t here c rouches i n t he f oreground a S cythian w ho , i nstead o f s harpening h is b lade , g rips t he l ower l eft l eg o f Marsyas, p rocess .

a pparently b eginning t he f laying

T his e xecutioner c orresponds c losely i n h is a ction t o t he a dapted

k nife-grinder o f X II, a nd o f 5 8, a l ost s arcophagus e nd p anel ( a t hreef igure s cene - s ee b elow ) w here A pollo w as a gain r epresented a s s tanding . T he f igure

o f

N ike

o n 6 1

i s

p roblematic ;

r elated t o t he e xtended p rototype , b y c ontrast ,

w hile

N ike d oes

o ccur

i n w orks

t here h er r ole i s e ntirely c onventional ;

u pon t he g em s he a pparently c arries away M arsyas ' f lutes,

6 0

o ne

i n e ach h and . a ctively .

I n n o o ther s urviving M arsyas w ork d oes s he p articipate s o O ne c an o nly s peculate u pon t he p ossible r easons f or t his

d eparture f rom t radition : i t may r eflect s ome l ost p arody o f t he myth, l iterary o r t heatrical ; t he

p art

o f

t he

o r i t m ay h ave b een a w itty t urn o f o riginality o n

e ngraver ;

o r c onceivably

i t

m ay

i ntroduce

a n e lement

o f

s uspicion t hat t he g em c ould h ave b een r e-worked, o r b e a f orgery .2 8 T he h anging s cene e ngraved o n t he f oot o f a g lass b owl f rom a g rave i n t he v icinity o f C ologne ( 74; r eduction o f

l ater

4 th c entury A .D .)

t he e xtended p rototype c omposition :

i s

e ssentially a

A pollo s its a t t he r ight ,

w atching t he f laying b eing c arried o ut b y t he t wo S cythians, t he r ope-puller a nd a v ariant u pon t he c rouching g rinder . o f b lood p ours f rom M arsyas ' c hest ; k nife i n h is

r ight h and,

A s i n m osaic 4 8 , a s tylised f low

t he c rouching S ychthian ,

h olding u p t he

t urns h is h ead a nd g estures t o A pollo t o a nnounce

t he p unishment h as t aken p lace, o r t o s eek a pproval f or h is work . T his c onstitutes a n i ntelligent v ariation i n t he p ose o f t he S cythian , w ho n o l onger n eeds t o s harpen t he b lade o nce t he e xecution i s o ver .

T he c ircular

f ield p rovided b y t he f oot o f t he b owl i s d ivided i n t wo , w ith t he e xecution i n t he u pper h alf. a cclaimed

b y

t wo

B eneath i s a s cene i n which a t riumphant A pollo i s Muses

o r worshippers . 29

T his

s equential r elationship t o t he h anging s cene , c omplement i t . i n e ach

n eed n ot

s tand

b ut w as n o d oubt

i n a

i ntended t o

T he mood o f w orship a nd s acrifice e voked b y t he a ppearance

s ection o f a n a ltar

s urmounted

b y

f lames,

a nd

t he

e mphasis

u pon

A pollo 's t riumph, may h elp a ccount f or t he p ortrayal o f Marsyas a s a b leeding v ictim , h is p unishment c omplete . T he h anging c omposition o f t he g lass b owl t ends t o c onfirm t he e vidence o f t he mosaic 4 8, r ecollection o f

t he

e xtended

p rototype

p rovinces u nder t he l ate E mpire ;

s till

e xisted

i n

t hat s ome

t he

western

b ut i t c ontradicts t he i mpression g iven b y

t he m osaic t hat t he i ntegrity o f t he m ain f eatures o f

t he o riginal d esign

h ad b y t hat t ime b ecome h opelessly d ebased . T he

r elief

f rieze

d ecorating

a g rave

s tele

f rom

A rabona

( 51; c a .

A .D .

1 00) , a nd a n i ntaglio g em ( 62 , I mperial) r ender r outine v ersions o f f our s tandard f igures - t he s eated A pollo , M arsyas h anging , t he S cythian k nifeg rinder , a nd O lympos p leading - i n s lightly d iffering a rrangements a long a s ingle g round-line, a nd o f n o s pecial d istinction . B ut t he s ame f our f igures a re g iven a m ore o riginal t reatment i n t he t hree r elief p anels o f a 2 nd c entury A .D . c andleabrum-base ( 52 a -c) , w hich d emonstrates i nventive u se o f a r ange o f f igure-types d rawn f rom d ifferent s ources . T hose o f M arsyas a nd A pollo h ave a lready b een i dentified ( above) a s b eing d erived f rom t heir P ergamene c ounterparts. Marsyas s hares h is p anel ( a) with a g rieving O lympos, s o f ar u nique i n R oman M arsyas w orks, w ho s tands h olding t he h em o f h is c loak t o h ide h is f ace . A s imilar O lympos a ccompanies t he b ound M arsyas o n t he P raenestine m irror A 65 , b ut t he p ose i s ac onventional e nough i ndication

o f

mourning ,

a nd

n eed

n ot

h ere

r efer

t o

a ny e arlier M arsyas

t radition . T he u sual k neeling O lympos c ould n ot h ave b een a ccommodated w ithin t he r estrictive u pright f ormat o f t he p anel a longside a ny o ne o f t he o ther t hree f igures ( not e ven a s tanding O lympos c ould h ave f itted i n w ith t he s eated A pollo o f p anel c ), a nd r ather t han omit h im a ltogether, t he c arver made t his e ffective c ompromise; a g rieving r ather t han p leading O lympos m akes t he m ost a ppropriate c ompanion f or M arsyas . I t s eems t he d ictates o f t he t all f ormat m ay h ave p resented a f urther d ifficulty w hen i t c ame t o d epicting t he e xecutioner . A s imilar p roblem h ad f aced t he c arver o f t he A ugustan r elief 4 9 ( right s ide p anel c ) ;

h e t oo w as w orking w ith s ome k nowledge o f

P ergamene g roup a nd ,

t he f orm o f t he

p erhaps r ecalling t he s culptural o rigin o f t he f igure ,

6 1

s et h is S cythian k nife-grinder u pon a t all p linth t o h elp f ill t he f ield . T he r ope-puller h ad p robably n ot y et b een a dded t o t he r epertoire , a nd t he i mportant R oman b ound M arsyas p rototype w ith i ts s tanding S cythian m ay w ell n ot h ave a ppeared o r b ecome w idely k nown ; s ome a cquaintance w ith e ither m ight h ave p rompted a d ifferent s olution .

I n t his r espect t he c arver o f 5 2

w as a t a n a dvantage ; e ven s o , h is e xecutioner i s a r esourceful c oncoction o f d ifferent i ngredients .

S een i n a t hree-quarter r ear v iew,

h e s tands

l ooking t o t he r ight , w here M arsyas h angs i n t he a djacent p anel , a nd h olds u p a f laying k nife i n h is r ight h and ; h is r ight f oot i s s et u p o n al edge o f t he r ocky o utcrop b efore h im , o n t op o f w hich r ests t he s harpening s tone . P erhaps t he r ope-puller l ies a t t he r oot o f t he i nitial c oncept, b ut t he g eneral i mpression i s o f a n a ffected h eroic p osture - i t h as c onnotations o f t he much c opied 3 rd c entury B .C . s tatue o f ' Jason ' ( or H ermes), o r i n p ainting o f t he o ften-repeated P erseus w ho l iberates A ndromeda , o r A rgus w ith I o .3 0 M eanwhile , t he s harpening s tone p laced u pon t he r ocky o utcrop i s ad etail f ound i n c onjunction w ith t he s tanding S cythian o f t wo g arlands arcophagus c ontext

r elief ( 36 a nd X b , A .D .

1 50-170/80) , a nd a lthough t he s tyle a nd

( Marsyas b ound) a re s omewhat d ifferent ,

t his

c ommon

f eature h ints

t hat t here m ay b e s ome p roximity o f d ate b etween t he t hree r eliefs. O ne g roup o f t hree-figure s cenes, e xecutioners, t radition .

a ll

T he

o n

s arcophagi,

r emaining

t hose w ith Marsyas

d erive

t hree-figure

f rom

s cenes ,

t he

a nd h is

e xtended

e xcepting

t wo

p rototype

o nly 5 3

( below) ,

a lthough t heir f orm i s v aried , a pproximate t o t he P ergamene c ombination o f M arsyas, A pollo a nd t he k nife-grinder. M arsyas a nd t he t wo S cythians f eature i n t he a bbreviated h anging s cene f rom t he r ight-hand e nd o f t he f ront p anel o f t wo s arcophagi ,

X V ( A .D .

2 00-

2 10, f ig . 5 5) a nd X XI ( A .D . 2 90-300, f ig . 5 8) . A s n oted a bove, t his g rouping w as a pparently e xcerpted f rom t he f ormula d eveloped f or t he d ivided p unishment ' s cenes o f

t he s arcophagi X II a nd X III :

M arsyas

i s s uspended a t

t he r ight ; t he r ope-puller s tands c lose b eside h im , w hile a l ittle f urther t o t he l eft, a nd s lightly i n t he f oreground, t here c rouches t he k nifeg rinder, g lancing u p a t h is v ictim . 31

A s mall f ragment ( XIV b ), which

p robably b elongs t o t he r ight e nd o f t he d amaged s arcophagus X IV ( late 2 nd t o e arly 3 rd c entury A 21?) , m ay s how t he t orso o f t he r ope-puller , s een i n r ight p rofile ,

a nd

X III , X V , X XI) ,

w here h e i s l ikely t o h ave b een j oined b y t he k nife-grinder .

t herefore o riginally t o t he l eft o f M arsyas ( as o n X II ,

T he s ame c onfiguration o f M arsyas a nd t he t wo S cythians , d etail o f t heir a ctions,

b ut v aried i n t he

o ccurred a t t he r ight-hand e nd o f a s uspect r elief

( C10, n ow l ost), o nce t o b e s een i n t he E ast f acade o f t he c asino o f t he V illa B orghese . T he r elief, i f n ot e ntirely a f orgery, may h ave b een a r econstruction b ased u pon f ragments o f a s arcophagus s imilar t o M .3 2 S ome a spects o f ( 49 ,

f ig .

t he A ugustan r elief d ecoration o f a n a ltar f rom A rles

4 3) h ave a lready b een c onsidered f or t he l ight

t he n ature o f t he l ost P ergamene g roup . i ts o riginal p rominent l ocation ,

I ts

t hey m ay s hed o n

i mportance i s

u nderlined

b y

b efore t he c entre o f t he s tage o f t he

t heatre a t A rles. R egarded b y D . S trong t o b e ' as g ood a s a ny s urviving r eligious s culpture o f t he p eriod , i ncluding c ontemporary w ork i n R ome ' , t he a ltar must s urely h ave b een c arved b y a n a telier s chooled i n t he m ainstream o f G reco-Roman a rt , a nd c onversant w ith i ts i magery .3 3 A nd y et t here i s s omething d isconcerting i n t he d isparity o f t he t hree i ndividual p anels - t he A pollo o f

t he d ominant f ront p anel

t he o ther f igures - a nd i n t he f act

i s o f a l arger s cale t han

t hat t he o rder i n which

t hey a re

d isposed u pon t he m onument d oes n ot a llow t hem t o b e r ead t o r econstitute a c ontinuous, o r i ndeed l ogically c onstructed , s cene . T he S cythian i s s hown

6 2

i n p rofile o n t he r ight

s ide p anel ,

s eparated b y A pollo o n t he f ront f ace

f rom t he h anging M arsyas o f t he l eft s ide p anel ; M arsyas, l ike t he S cythian , f aces a way f rom t he g od ( the f ourth s ide, t he r ear, i s b lank) . t hese i nconsistencies a re f urther t ypes , e ach a pplied i n i solation . o f

t he f igures f rom t heir P ergamene c ounterparts,

own p articular c losely

t he

c haracter .

P ergamene

P erhaps

i ndication o f r eliance u pon s culptural Y et i n s pite o f t he p robable d erivation

S o,

e ach a lso

p ossesses

i ts

e ven t hough t he k nife-grinder r esembles

e xecutioner

i n h is

p ose ,

h e

i s

d ressed

i n

e astern

c ostume;

a nd M arsyas wears a l ong n ebris, k notted d istinctively a t t he

t hroat .

N either f eature

P ergamene f igure ;

b ut

i s

t he

f ound

i n s culptural

p linth u sed

t o

c opies

e levate

t he

o f

t he e quivalent

S cythian w ithin t he

t all r ecta rTular f ield o f t he s ide p anel s eems a r eference t o t he s culptural t radition s -5 4

I n t he main p anel,

t he g reat s acred t ripods f illing t he

b ackground o n e ither s ide o f A pollo c annot b e l inked d irectly t o t he s upposed P ergamene m odel , a lthough t he s culptural g roup m ay w ell h ave b een d edicated a t s ome s hrine o r s anctuary ; m ore l ikely t heir p urpose w as t o e voke t he s acred a mbience W ilar f rom a n umber o f s cenes o f Marsyas ' p unishment, h anging o r b ound . Two

g ems

( 63;

6 4;

p robably

b oth

o f

t he

i st

c entury

A .D .)

a nd

a n

A lexandrian c oin ( 73, c a . A .D . 1 38-162, f ig . 3 9) p resent v ersions o f t he P ergamene f ormula , i n e ach c ase w ith M arsyas s uspended f rom a b owed t ree . B ut i n n one d oes t he s eated A pollo a dopt t he r ight-arm-raised p osture a ssociated

w ith

v ersion .

T he

t he

P ergamene

p iece t oo :

o n 6 3 h e f aces M arsyas ,

p osition

o f

A pollo ;

t he

h e

i s

o f

S cythian g rinder

a d ifferent i s

v aried

t ype f rom

i n e ach p iece

t o

w hile o n 6 4 a nd 7 3 h e i s t urned t o f ace

A pollo . T he l ast t wo w orks i nclude a s a d etail M arsyas ' f lutes , t ied t o t he t ree o n 6 4, d iscarded a t i ts b ase o n 7 3 . 36 T here must b e s ome d oubt w hether 7 3 c an r eflect a f ully t hree-dimensional v ariant o f g roup , t he

' red '

o r o therwise .

I n t he f irst p lace ,

i f

t he P ergamene

t he c oin d id r eproduce

a ppearance o f a f ree-standing g roup , t hen t he g ravity-defying e lements

o f t he d esign ,

t he b owed t ree f rom w hich M arsyas h angs a nd t he f lying c loak

o f t he S cythian , i mply i t c ould o nly h ave b een e xecuted i n b ronze ; t his r uns c ounter t o t he b asis o f t he p roposal t hat t he ' red ' A lexandrian v ariant w as o f c oloured marble . A s econd f actor w hich s eems t o o ppose t he i dea t hat a s tatue-group w as r epresented i s t he d ispersal o f t he f igures a t d ifferent l evels w ithin t he f ield ,

a s

i f w ithin a l andscape ;

i ndeed ,

t he h igh r ocky

s tructure u pon w hich A pollo i s p erched c ontinues a lmost t o t he l ower e dge , w here i t i s o bscured b y t he S cythian 's

s harpening-stone .

T he

s eparate

f igures o f a s tatue-group m ight b e e xpected t o h ave b een s et o ut a t as ingle l evel,

a lthough

a dmittedly

H ellenisitic p ieces . w ork o f a rt,

t his

was

n ot

a lways

t he

c ase

w ith

l ate

I f t he c oin w as i ntended t o c elebrate s ome n oted l ocal

i t i s p erhaps m ore l ikely t o h ave b een a r elief ,

p ainting o r

m osaic , m edia b etter s uited f or a l andscape b ased c omposition . B ecause

o f

t he

r eluctance

o f

t he

T unisian

a uthorities

t o

make

i nformation a vailable f or s tudy c oncerning t he c ontinuous n arrative m osaic V II f rom D ougga ( early 4 th c entury A .D .), t here i s l ittle s cope f or a ny p recise a nalysis o f i ts c ontents . I n g eneral o utline , i ts h anging s cene , d isposed i n a p olychrome l andscape s etting ,

c onforms t o t he c omposition o f

s everal v ersions o f t he P ergamene f ormula i ncluded h ere ( 64, w hen v iewed a s a n i mpression ; 7 3 ; 5 6 -b elow) : A pollo i s s eated a t t he l eft, M arsyas h angs a t t he r ight, a nd t he S cythian c rouches b etween t hem . T he a ccompanying A thena-Marsyas s cene s eems t o o we l ittle d ebt t o t he s ources u sed b y t he R oman s arcophagus c arvers; s imilarly t he u se h ere o f a v ariant o f t he P ergamene s cheme , r ather t han t he f avoured e xtended v ersion . c orroborate

t he

i mplication o f

t he A lexandrian c oin 7 3,

6 3

T his m ay h elp

t hat

s ome v isual

t radition d escended f rom t he P ergamene f ormula h ad p ersisted i n R oman N orth A frica, e ven t hough, a s i ntimated a bove,

p robably n ot i n t he f orm o f a

s tatue-group. A c omparable

a rrangement

o f

t he

t hree

p anel o f a s arcophagus f rom S zekszard ( 56 ;

f igures

o ccurring

3 rd c entury A .D .?)

o n

t he

s ide

i s r emarkable

m ainly f or t he f act t hat A pollo s its u pon t he b ack o f h is g ryphon ,

a nd f or

t he d istinctive M arsyas-type e mployed . A lthough s hown w ith h is a rms s trung u p a bove h is h ead, which s ags f orward a l ittle, Marsyas ' r ight f oot i s p lanted f irmly u pon t he g round , b earing h is w eight ; h is l eft f oot i s s et b ack

s omewhat,

t he

l eg

b eing

r elaxed,

a nd f lexed

a t

t he k nee .

T he

s ignificance o f t his f igure-type l ies i n i ts r eplication i n ad rawing b y D al P ozzo o f a l ost s arcophagus . s tanding ,

r elief ( 58,

A gain M arsyas

a t t he l eft ;

M arsyas ' r ight

s hin .

f ig . w as

3 8),

p robably a lso t he e nd p anel o f a

l ocated

a t

t he

r ight ,

w ith

A pollo ,

n ow

b etween t hem k nelt a S cythian w ho a pplied a k nife t o C .

R obert b elieved t hat t he s ketch w as

a s ample

o f

D al P ozzo 's a rtistic l icence , a nd w as a f ree i nterpretation o f t he r ight e nd p anel o f t he s arcophagus 5 5 ( above) ,

r ather t han t he r ecord o f a n e xisting

r elief , n ow l ost . 3/ Y et b eyond t he a ppearance a t t he l eft s ide o f 5 5 a nd 5 8 o f t he s ame s pace-saving s olution o f a s tanding A pollo , t he t wo h ave l ittle i n c ommon ; s tructurally a nd i n d etail t hey a re q uite d ifferent. M oreover , t he d rawing r enders t wo s pecific f eatures a lien t o t he r elief 5 5 , b ut

c ertainly n ot

t he

i nvention o f

D al

P ozzo .

O ne i s

t he f igure o f

M arsyas, c ompletely u nlike t hat o f 5 5 , w hich 5 6 s uggests w as a n i ndependent s chema, a nd t herefore d rawn b y D al P ozzo a fter a n e xisting w ork . T he s econd i s t he a ction o f t he S cythian , s hown b eginning t o f lay M arsyas ' l ower l eg ,

a s h e d oes u pon t he s arcophagus X II .

o n 5 5 w e f ind o nly a c onventional

k nife-grinder . 38 T hese f actors t aken t ogether s uggest t he d rawing t o h ave b een s ubstantially b ased u pon t he d esign o f s ome o ther r elief, s ince l ost . T here i s n o v isible d emarcation t o d ivide i nto s eparate s cenes t he m ythological c haracters ( not a ll o f w hom a re i dentifiable) w ho s tand c rowded t ogether i n t he r elief f rieze e ncircling a m arble c istern f rom B ordeaux ( 53 ,

2 nd

c ontains

t o

3 rd

t hree

c entury M O) . f igures :

B ut

M arsyas

a nd

i t

a ppears

A pollo

t he h anging

a re

e asily

M arsyas

r ecognisable ;

s cene t he

f emale f igure p artially o bscured b y A pollo 's l yre , a M use p erhaps , s eems a more l ikely s pectator o f t his s cene t han t he a djacent monster-slaying ( Herakles a nd H esione?) . T he ' Muse ' f igure i s s o c ompressed a s t o s uggest t hat s he w as i ncluded t o f ill a n a wkward g ap i n t he c ontinuous c ircular f rieze ,

a nd t hat o nly A pollo a nd M arsyas w ere p lanned o riginally ,

t he t hird

f igure b eing a dded a s a n a fter-thought . T his , o r t he c istern 's p rovincial m anufacture , m ay a ccount f or i ts d eviation f rom t he t wo s tandard f ormulae t raditionally a dopted f or t he t hree-figure s cenes . A r ange o f c ompositions s how M arsyas a ccompanied o nly b y A pollo o r a n e xecutioner ;

m ost a re u pon s mall-scale w orks o r a pplied i n s ituations w here

s pace w as l imited , w hich m ay h ave p rompted a c urtailment o f t he d esign . T hus a s eries o f g ems ( 65, 6 6 a -d , 6 7 ; 6 8 ; i st c entury B .C . t o i st c entury A .D .)

g ive

a s imple

C itharoedus . o ne ,

6 8 ,

j uxtaposition

o f

M arsyas

h anging

a nd

a s eated A pollo

T he p osture o f t he f igures c hanges f rom g em t o g em ,

s hows a n A pollo o f t he P ergamene t ype ,

h ead , w ho a lso f eatures i n t he l ater i st c entury A .D .?).

s imilar

T he c irculation o f a c oin t ype ( 72,

s cene u pon a m arble

c a . A .D .

w ith a s tanding A pollo c onfronting M arsyas , 2 nd c entury A .D . a t l east,

b ut o nly

r ight a rm r aised o ver h is o scillum

( 50 ,

17-272) a t G erme i n M ysia ,

d iscloses t hat,

f rom t he e arly

t he P ergamene g roup w as n ot t he s ole a pproach t o

6 4

t he s ubject t o b e k nown i n t hat r egion o f A sia M inor .

I t i s p ossible t hat

a r epresentation o f s ome a ctual l ocal m onument

w as

i ntended ,

M arsyas

t ree

r ises

h im)

( perhaps

c ombined

i n m arble ,

w ith o ne

o f

s ince a n u pright

A pollo ;

b ut

e qually ,

a s tatue

o f

d irectly b ehind

t he d esign m ay h ave

b een

c omposed s pecifically f or u se u pon t he c oins. Ah anging M arsyas a ppears i n c onjunction w ith a k nife-grinder t wice u pon g ems ( 69 a nd 7 0 ,

i st c entury A .D ./Imperial) w here t he i ndividual f igures a re

v aried e ach t ime, a nd i n t he f orm o f ac lay s tatuette ( 59, which t he p air a re c ombined i nto a s ingle c omposite u nit,

I mperial) i n a s u pon t he

C entral I talian k nife h andle A 70 . C arved i n r elief , t he s ame t wo f igures d ecorate t he c ithara o f t he c ult s tatue f rom t he T emple o f A pollo a t B ulla R egia ( 95 , c a . A .D . 2 02) , a nd a re f ound u pon t wo s arcophagi . O f t hese , t he e arlier i s a Muse-sarcophagus ( IX , e arly 2 nd q uarter 2 nd c entury A .D .), w here t he s cheme w as e mployed o n t he l eft e nd p anel t o b alance t he t wof igure

c ontest

s cene o n t he r ight e nd .

I t p redates

t he f irst k nown

e xpression o f t he s tory i n c ontinuous n arrative f orm u pon s arcophagi ,

where

t he c ourse o f e vents l eads u p t o t he h anging s cene a t t he r ight o f t he f rieze ; t he h anging s cene o f t he l ater M use-sarcophagus 5 5 w as, i n c ontrast, c arved o n t he r ight e nd , p erhaps i n r esponse t o t his s ubsequent d evelopment . I t w as p robably t he d emand f or e xtra s pace f or t he u nusually e xtended s eries o f

e arlier e pisodes

which r equired t he e xecution s cene o f t he s econd

s arcophagus ( XI f ; A .D .

1 50-170/80,

f ig . 2 7) t o b e c onfined t o j ust two

f igures. T he i nfluence o f t he P ergamene M arsyas,

a nd t he p roduction o f s o many

l arge-scale c opies ( A69 i - x xii) , s eems t o h ave l ed t o an umber o f v ersions o f a s olitary h anging M arsyas b eing c reated i n l esser m edia . T hese i nclude s tatuettes o r f igurines ( largely I mperial) i n i vory ( 60 a ) , b ronze ( 60 b ) , c lay ( 60 c ) , w here

t he

o r m arble ( 60 d ) ;

f igure w as

a nd f urther e xamples e xecuted i n t he r ound ,

e vidently

a pplied

d ecoratively

-a s

a t able-support

( 60 f a nd 6 0 g /h) a nd t o e mbellish a b ronze i mplement ( 60 e ) . h anging M arsyas w as

c arved

i n r elief

s tatues o f t he A pollo C itharoedus a nd

9 4 ,

I mperial) ,

w ithout

t he

o n t he

( 92 ;

i st c entury B .C .

a ccompanying

i nstrument o f t he B ulla R egia s tatue ( 95) . a re a lso f ound i n t erra s igillata ( 46 ,

f rame o f S cythian

t he

A s mall

c ithara o f

t wo

t o i st c entury A 01 ; w ho

a ppears

o n

t he

S olitary h anging M arsyas f igures

H adrianic) ,

o n a g em ( 71,

I mperial) ,

a nd a s t he c entral m otif o f a m onochrome m osaic p avement f rom R ome ( 47 ; l ater 2 nd c entury A .D .?) . S ince t he two G reek s tatuettes o f Marsyas h anging ( A67,

A 68) m ay p erhaps h ave b een s olitary f igures,

t he p ractice o f

t reating t he s atyr i n i solation n eed n ot h ave b een e xclusively a p roduct o f R oman t aste . T he e xtent o f i nvention i n t he R oman h anging M arsyas c ompositions w as mostly r estricted t o v ariation o f i ndividual f igures w ithin a s imple f ramework a dapted f rom o ne o r o ther o f t he t wo major p rototypes, P ergamene g roup ,

a nd t he e xtended R oman v ersion .

c onsiderable d iversity ,

a s

T his

t he

s till a llowed

t he r ange o f s urviving p ermutations s hows,

f or e ven

i f t he i nitial c oncept w as q uite l imited i n s cope. D espite t he w ide r ange o f a pplications o f t he t heme a ttempted , s o f ar n o h anging Marsyas s cene h as b een d iscovered i n t he media o f p ainting a nd s tucco , a lthough a t l east o ne c omponent o f t he h anging i conography , t he k nife-grinder ,

w as k nown t o p ainters ( II) a nd p robably s tuccoists a lso M.

T he d ominance i n t hose m edia o f t he b ound M arsyas t radition m ay b e p artly r esponsible ; t his m ay , h owever , b e m erely a s econdary e ffect o f w hat must s urely

b e

t he

p rincipal

c ause :

t he

p erception

6 5

o f

t he

h anging

M arsyas

a s

b elonging t o a s culptural h eritage .

T his i s n ot

t o s uggest t hat t he

s ubject c ould n ever b e e ssayed i n t wo-dimensional p ictorial m edia ;

t here i s

e vidence t hat c ertain h anging s cenes may h ave b een t ransmitted a s b ook i llustrations , a nd f our h anging s cenes s urvive e xecuted i n m osaic ( 47 , 4 8 , V I V II) ." B ut t he a daptability o f m osaicists i n a ssimilating d esigns f rom v aried s ources s hould b e t aken i nto a ccount ; t he t wo p olychrome c ompositions ( VI , V II) , f or e xample , d o n ot p resuppose t he e xistence o f ap ainted v ersion a s m odel , a lthough t his r emains a p ossibility .

6 6

C hapter 6 M ARSYAS A ND O LYMPOS B esides

o ffering

a v ariety

o f

d ifferent

c ompositional

f ormulae ,

t he

R oman w orks r epresenting M arsyas a nd O lympos p rovide i nterpretations o f t he t heme r anging f rom s traightforward m usic l essons t o a v igorously a ttempted s eduction , a nd c overing m ost i ntermediate g round . B ut o verall , e mphasis i s u pon t he d idactic r elationship b etween t he t wo. O stensibly , A 78 b /c ,

n one o f

t he s urviving

p re-Roman v ersions

t he

m ain

( A72,

A 76,

A 79 b ) r eflects m ore t han r emotely t he f amous a ncient p ortrayal o f

t he p air ,

t hat i ncluded i n t he N ekyia o f P olygnotos .1

S till,

c ertain

e arlier d esigns r eappear i n R oman s cenes , i ndicating t hat a n umber o f t hese l ater w orks m ay h ave b een c omposed f ollowing e xisting p atterns o r v isual t raditions, p erhaps i nitiated b y s ome w ell-known m odel. W e k now f rom P ausanias ' d escription o f t he N ekyia t hat M arsyas s at ' on ar ock . w ith O lympos b eside h im l ike a b eautiful b oy l earning t o p lay t he f lutes '; ar ather g reater p roportion o f R oman s cenes a ccord w ith t his d escription t han d o t heir f ore-runners ; f or e xample , i n t wo S outh I talian v ase-paintings ( A73 , A 74) b oth M arsyas a nd O lympos a re s hown s tanding . M ost p re-Roman w orks d o , h owever , p resent M arsyas s itting o n a r ock , a nd t his m otif i s a c onstant f eature i n t he R oman i conography , w ith j ust t he m osaic V I a ,

w here

h e

i s

s emi-recumbent ,

a nd

t wo

C ampanian

w here a r ectangular b lock s tands i n f or t he r ock ,

p aintings

( 76 ,

8 0) ,

d eviating .

I f w e e xamine c ritically P liny 's a ccount o f a f amous p air o f m arble s tatue-groups i n R ome , i t a ppears P olygnotos ' p ainting w as n ot t he o nly a cclaimed w ork t o d epict M arsyas a nd O lympos w hose r eputation i s p reserved b y a c lassical a uthor . F or i n s pite o f P liny 's c onfused r eference t o ' Olympos a nd P an ', t he e vidence s uggests o ne g roup r epresented M arsyas t eaching t he f lutes t o O lympos: T here i s j ust a s m uch d ispute a s t o t he m akers o f t he O lympos a nd P an a nd t he C heiron w ith A chilles i n t he V oting E nclosure , e ven t hough t heir f ame p ronounces t hem t o b e s o v aluable t hat t heir k eepers m ust a nswer f or t heir s afety w ith t heir l ives. ( NH X XXVI, 2 9) T here c an b e n o d oubt o f P liny 's c onfusion o ne way o r t he o ther ;

a

l ate H ellenistic s tatue-group o f P an t eaching t he s yrinx t o t he y outh D aphnis i s k nown t hrough s everal R oman c opies - i t i s b elieved t o h ave b een i nspired b y t he M arsyas-Olympos t radition ; b ut P an d id n ot t each O lympos .2 E ither P liny m ust h ave m eant ' O lympos a nd M arsyas ' o r ' Daphnis a nd P an ' . O vid i nstinctively l inked M arsyas a nd O lympos w ith C heiron a nd A chilles , w hen b riefly r ecalling m ythical p upils a nd t heir t eachers ( ex P onto I II , 3 , 4 2-43) , a nd c ertainly t his s eems a m ore a ppropriate c ombination f or t he V oting E nclosure s tatues . T here i s a n atural a ffinity b etween t he p hysical c hatacteristics o f s atyr a nd c entaur , a nd a m ore g enuinely c omplementary c ontrast b etween t he i nstruments i nvolved , a nd t heir p ractitioners : t he w ise C heiron t utoring t he y oung G reek h ero i n t he c ivilised l yre , a nd t he u nfortunate M arsyas i nstructing t he P hrygian O lympos i n t he B acchic f lutes .

6 7

S ome o f t he s urviving e vidence w hich m ight h ave p ointed t o ap referred c ompanion-piece f or C heiron a nd A chilles i s i n f act c ontradictory ; w hile a m arble o scillum f rom P ompeii ( 83) c ouples M arsyas a nd C heiron , a P ompeian p ainting ( C12) o f V enus a nd A donis i ncludes A chilles a nd C heiron w ith P an a nd D aphnis , d epicted a s a p air f f d ecorative s tatuettes , s howing t hat t his a ssociation t oo w as n ot u nknown .

f ig .

B ut i t i s t he j uxtaposition o f M arsyas a nd O lympos ( 80 ; V espasianic , 4 4) w ith C heiron a nd A chilles i n a n i mposing p air o f c ompanion-

p aintings f rom a p ublic b uilding i n H erculaneum , t he s o-called ' Basilica ' , w hich p rovides t he m ost i mportant e vidence f or t he p robable f orm o f b oth V oting E nclosure s tatue-groups . Y et a lthough t he s triking s tatuesque f igures s tand b efore a r ich a rchitectural b ackdrop i n e ach p anel , c onveying t he i mpression o f a s ingle i nterior s pace, t here i s n othing i n t he a ccomplished p olychrome t echnique o f t he a rtist t o s uggest a t rompe l 'oeil a ttempt t o r ender t he a ppearance o f a ctual s tatues . A s s ignificant a s t he s urvival i n c ombination o f t wo s uch i mpressive p aintings , i s t he f act t hat e ach i ndividual f igure g roup i s u ndoubtedly b ased u pon a w ell-known m odel , r eflected i n i ndependent s eries o f i ntaglio g ems d ating f rom t he e arlier i st c entury B .C . o n .4 T he g ems w ith C heiron a nd A chilles, w hen v iewed a s i mpressions , d uplicate p recisely t he c onfiguration o f t he p ainted c entaur a nd h is p upil f rom H erculaneum , a nd c an o nly h ave b een d erived f rom s ome v ersion o f t he s ame i nfluential p rototype t hat i nspired t he p ainting . T wo g ems t hat p refigure t he d esign o f t he M arsyas g roup f rom H erculaneum ( 80) a re t he e arliest k nown v ersions o f t his c ompositional t ype , G reek o r R oman , b esides b eing t he e arliest s urviving R oman i llustrations o f t he M arsyas-Olympos

t heme .

5

I n t he p reserved i mpression o f a l ost

g emstone 8 7 ( Republican , f ig . 4 9) M arsyas s its u pon a r ock w hich i s d raped w ith a n a nimal p elt , o ne c orner t urned o ver h is l eft t high ; h is r ight h and h olds o ut a f lute f or h is p upil t o b low , w hile h is l eft a rm p asses b ehind t he y outh 's s houlders . O lympos , s tanding b efore h is m aster w ith h is w eight s et o n h is l eft l eg, h olds a f lute i n e ach h and . A lthough o f l ess s ophisticated e xecution , 8 8 ( 1st c entury B .C . ) i s s ubstantially t he s ame ; t he c omposition r ecurs w ith l ittle v ariation i n a s uccession o f l ater g ems ( 89 , 9 0 , 9 1, i st t o 2 nd c entury A .D .) ; h owever , t he f lute e xtended t owards O lympos i n M arsyas ' r ight h and i s n ot a lways v isible , a nd t he a ction m ay h ave b een r einterpreted a s a g esture o f e ncouragement, a s i n a s econd C ampanian p ainting

( 81,

b elow) .

F inally ,

i n t he l atest e xample ( 91) ,

e ven

t his g esture i s l ost . L ike t he i ntaglio r epresentations o f t he C heiron g roup , i t i s t he p ositive i mpression t hat r estores t he a rrangement o f t he f igures a s t hey a ppear i n t he m ajor p ainting f rom H erculaneum . E ven t hough t his p ainting i s i n a p oor s tate o f p reservation , i t i s n ot d ifficult t o p erceive t he e ssential l ay-out , w hich l argely c oincides w ith t he d esign o n t he e arlier g ems . T he p rincipal d ifference l ies i n a s light s hift i n t he a ngle a t w hich M arsyas ' b ody i s p resented , e ffectively a p artial r otation n ot a c omplex o peration i f t he m odel i s a t hree-dimensional o ne . T his p ermits t he l egs o f t he s atyr t o p roject t owards t he s pectator 's l eft, g iving t he g roup a p yramidal f orm c orresponding m ore c losely t o t hat o f t he C heiron g roup , w here t he c entaur 's l ong b ody , s ettled o n i ts h aunches , m akes s uch a n a rrangement i nevitable ; O lympos ' s tance i s v aried o nly m arginally : h is r elaxed r ight l eg i s d rawn b ack , j ust t he b all o f t he f oot r esting o n t he g round . T he u pper t hird o f t he p icture i s t oo f aded t o b e c learly d ecipherable , b ut t races r emain o f M arsyas ' r ight f orearm a nd h and a round t he l evel o f h is p upil 's h ead , i mplying t hat h e s upported a f lute f or t he y outh t o p lay , a s o n 8 7 a nd 8 8 . T his i s n ot s hown i n t he r econstruction o f t he p ainting i n H errmann - B ruckmann I , 10 , f igure 2 9 ( after P dE ; h ere ,

6 8

F ig .

4 5),

which r estores Marsyas ' h and i n t he w rong p osition ,

p erhaps

f ollowing t he s atyr 's g esture i n t he r elated p ainting 8 1 . T his

i s

a s everely

V espasianic?) .

A s

d amaged

r ecorded,

F ourth i t

S tyle

f ollows

p ainting

t he

f rom

p revious

P ompeii

w ork

i n

( 81; many

p articulars , a nd m ay e ven h ave b een b ased u pon i t , a lthough t he f igures w ere r elocated i n a r ocky l andscape s etting . W ith t he e xception o f t he p osition o f h is r ight a rm , n ow l owered a nd m aking a n e xplanatory g esture o f s ome k ind t o O lympos , M arsyas ' p ose r eproduces t hat o f h is c ounterpart i n 8 0 , n ot t he g ems . A ssuming t he o riginal r e-orientation o f M arsyas i n r elation t o t he s pectator t o h ave b een u ndertaken t o b alance t he C heiron g roup ,

w hen

r endered i n p ainting a t H erculaneum, t hen t he P ompeian p icture, i n r eflecting t his d evelopment , i s l ikely t o b e d erived f rom t he v ersion f rom H erculaneum .6 F urther e vidence ( below ) s uggests i t m ay b e t he g ems w hich m ost c losely r ecall t he s culptural model . T he f igure o f O lympos w as m odified i n 8 1; h e i s p resented f rontally i n a n e ffete p ose , a nd w ith o nly o ne f lute , i f t he d rawing i s t o b e b elieved . S ince O lympos n ormally a ppears h olding a f lute i n e ach h and, a s econd f lute may h ave b een o bscured b y d amage t o t he p ainting a nd o mitted b y t he r ecording d raughtsman . I n t he m atter o f w hether a H ellenistic s tatue-group m ay h ave b een t he m odel f or t he g ems a nd t he p icture f rom H erculaneum , t he m aterial r emains o f s uch a g roup w ould n aturally c onstitute i mportant e vidence . O ne i tem a mongst a s eries o f f ragmentary s tatues, i ncluding a M use a nd a l ikely A pollo , e xcavated f rom t he O deon a t P tolemais ( probably T rajanic), may p rovide t his . I t i s a s tatue-base ( 84 , f ig . 4 7) , p reserving a t t he l eft t he f eet o f a n a dult l ocated b efore v estiges o f a r ocky s tructure , a nd s o p robably a s eated f igure , w ith p ossible t races o f a t railing a nimal s kin . A longside a re t he f eet o f ay outhful s tanding f igure, t he l eft f oot s et u pon a s yrinx l ying o n t he g round . A m usical c onnection f or t he s tatue i s g iven b y t f ie c ontext o f i ts d iscovery a t t he O deon , av enue f or musical p erformances , w here i t p robably f ormed p art o f ad ecorative s cheme , a nd t he s yrinx . I t i s n ot r are t o f ind M arsyas w ith a s yrinx a s w ell a s t he f lutes, a nd s ome c lassical s ources c redit h im w ith t he i nvention o f b oth ; t he g roup c annot h ave d epicted P an w ith D aphnis, a s h uman ( or s atyric) f eet a re s hown ,

n ot g oat 's h ooves .7

W hen t hese r emains a re c ompared

w ith t he

i mage u pon t he e arlier g ems ( 87 - 9 0, p ositive i mpression), a c lose c orrelation o f t he p osition o f t he f eet i s r evealed . M arsyas ' r ight h eel i s d rawn b ack t owards h is r ocky s eat; h is l eft f oot i s s et f orward s omewhat , a nd O lympos ' r ight f oot i s p lanted b ehind t his ; o n t he b ase t he y outh 's r ight f oot i s a pparently r esting o n t ip-toe ( cf . 8 0) , s uggesting t he m ain t hrust o f h is w eight i s t aken u pon h is l eft l eg , a s h e i s f eatured o n t he g ems a nd i n t he t wo p aintings . I n t he k nowledge o f t he l ikely e xistence o f s uch a s tatue-group , a ll t hese f actors t aken t ogether m ake a M arsyas i dentification f or t he b ase e ntirely p lausible , i f b eyond a bsolute p roof. M arsyas-Olympos s cenes d eriving f rom t he s ame d esign a re c arved o n a s ide p anel o f t wo D ionysiac s arcophagi ( 85 , f ig . 5 0 , a nd 8 6 ; l ate 2 nd t o e arly 3 rd c entury A 01 ) . I n b oth s cenes , M arsyas i s p resented i n p rofile a nd O lympos f rontally , i n as implified v ersion o f t he f ormula a s r endered o n t he g ems , b ut t he f igures a re s eparated o ne f rom a nother , m aking t he g roup l ess i ntimate . O f t he t wo, t he s ketchily e xecuted 8 5 g ives a f reer i nterpretation o f t he p rototype , w ith a m irror-image v ersion i ncorporating s ome l andscape f eatures, w hile t he m ore s kilfully c arved 8 6 s hows M arsyas i n a n a ttitude r eproducing i n m any r espects h is a ppearance o n t he f inest o f t he g ems ( 87 , 8 8) - a nd h ence p robably a lso i n t he s tatue-group .

6 9

I n v iew o f t heir l ikely a ssociation w ith t he c omposition o f a f amous s tatue-group , i t i s p erhaps n ot s urprising t hat t his c ollection o f w orks r epresents t he m ost w idely a pplied R oman v ersion o f t he M arsyas-Olympos e pisode . I t i s t he o nly a pproach t o t he s ubject s o f ar r ecognised o n g ems a nd s culptural r eliefs . B ecause o f t he d ignity a nd c lassical r estraint o f t his c ompositional t ype, i t h as b een c onjectured t hat i t may r eflect P olygnotos ' v ersion , a t heory w hich h as i ts a ttractions; c ertainly a p ainted model, a lthough o nly o f t he 4 th t o 3 rd c entury B .C ., h as b een . p roposed

f or t he c orresponding

C heiron-Achilles s tatue-group .8

B ut t he

i mpression m ay b e m isleading ; a c onscious t endency t o c lassicism h as b een n oted i n s ome l ater H ellenistic s culpture, a nd t here i s n o e vidence t o s uggest t he t ype w as k nown b efore t he t ime o f t he p resumed H ellenistic s tatue-group o f M arsyas a nd O lympos .9 M oreover , t he s urviving p ainted v ersions o f t he t ype ( 80 , 8 1) , w here o ne m ight h ope t o f ind s ome t race o f a ny P olygnotan i nfluence , a ppear t o o we t heir k nowledge o f t he m otif t o t he s culptural t reatment . T he most

c onsistently r eproduced

p re-Roman s cene w ith M arsyas a nd

O lympos s hows M arsyas s eated o n a r ock a nd o ffering a f lute ( or p air o f f lutes) , h eld o ut i n h is r ight h and , t o O lympos , w ho s tands b efore h im ; t he y outh , w earing a c loak o r e astern d ress , e xtends h is o wn r ight h and t owards t he i nstrument o ffered h im . T his a rrangement c an b e r ecognised f rom a S outh I talian o inochoe ( lost ; A 75" l ater 4 th c entury B .C . ) , a nd t he r elief d ecoration o f t wo b ronze v essels , a C ampanian s itula ( 78 ; 3 rd c entury B .C . , f ig . 5 9) a nd a n A lexandrian k antharos ( 79; 3 rd t o 2 nd c entury B .C ., f ig . 6 0) . T he t imespan a nd g eographical d istribution i nvolved s peak f or a f airly w ell-known m odel , b ut t here i s n o i ndication t hat t he d esign w as t aken u p d irectly b y R oman a rtists . A r elated v ariant , i n w hich O lympos r eaches o ut f or t he f lutes w hile M arsyas s till b lows t hem , i s w orked i n r elief u pon a G reek b ronze m irror-back ( A76 ; c a . e nd 4 th c entury B .C .) , a nd l ater a ppears t o h ave f ormed t he b asis f or a p ainting f rom P ompeii ( 76 ; N eronian , f ig . 4 8) , a nd p robably a lso a d amaged p ainting f rom H erculaneum ( 77 ; F ourth S tyle ; f ig . 4 6) . I n 7 6 M arsyas s its u pon a d raped b lock , p laying o ne f lute w ith t he o ther h eld a t t he r eady ; a y outhful O lympos, w earing j ust a c hlamys s tands , s tretching o ut h is r ight h and t owards t he n earer i nstrument . T his p araphrases t he m irror-design , w ithout d uplicating i ts c omposition i n d etail . Y et i t i s h ard t o e scape t he c onclusion t hat t he p ainter m ust h ave b een a ware o f t he e arlier t radition , a lthough p erhaps h e w as g iving h is o wn i nterpretation o f i t . M uch o f t he l eft s ide o f 7 7 i s m issing , a nd w ith i t , t he b ody o f O lympos,

o nly h is l egs r emaining t o i ndicate w here h e o nce

s tood ; t his t ime M arsyas b lows b oth f lutes . T he t wo p ictures a re d ifferent i n o verall c omposition a s w ell a s s tyle, a nd t here i s n othing i n t he h andling t o s uggest t he s ame h and c ould h ave b een a t w ork i n b oth . S till , t he t wo w orks s eem t o b e q uoting t he s ame t radition , h owever i ndirectly . T he l ack o f a ny c ommon a pproach i n t he t wo p ictures m ay p erhaps b e p ut d own t o i ndependent v ariation o n t he p art o f t he a rtist, b ut i t c ould a lso s ignify t hat t here w as n o p redominant p ainted o r s culptural p rototype a vailable , d espite t he t heme b eing g enerally k nown . G iven t he c luster o f t oreutic p ieces w ith s cenes r elated t o t his t radition , t here i s s ome p ossibility t hat i n t his i nstance , t he m edium o f t ransmission m ay h ave b een d ecorative m etalwork . A d estroyed p ainting f rom N ero 's D omus A urea ( C2 a ) m ight u ltimately d erive f rom t his t raditional v ariation , a lthough t he Marsyas-Olympos i nterpretation i s n ot f irmly e stablished . I t i s s imilar i n o utline , b ut ' O lympos ' d oes n ot r each f or t he f lutes , n or d oes ' Marsyas ' a ppear t o p lay a t l east i n t he p reserved d rawings . T he c ontrast i nherent i n t he

7 0

c ombination w ith i ts e rotic p endant-panel ( C2 b ) m ay h ave b een t he p rincipal m otive b ehind i ts e xecution , -a ny r espect c onsideration .

t or t he m ore

g iving a ' before ' a nd

' a fter ' n arrative e ffect

t raditional i conography b eing o nly a s econdary

'

F oreshadowing t he d esign o f t wo P ompeian p aintings,

a n a rmorous

e ncounter b etween M arsyas a nd O lympos i n t he g uise o f af lute-lesson a ppears o n a n A pulian c alyx c rater ( A72 ; 3 55-340 B .C .) . T he g rotesquely p ortrayed s atyr i s j oined s itting o n h is o utspread a nimal-skin b y h is w illing p upil , w ho b lows a p air o f f lutes , u nconcerned b y t he a ttentions o f h is m aster . M arsyas ' l echerous e xpression a nd s tate o f t umescence b etray h is i ntention , a s h is a rms r each a round t he y outh 's s houlders, f ingers p oised a s i f t o d emonstrate t he p roper w orking o f t he f lute-keys . I ntroducing t he w ork i n h is q uest f or a m odel f or t he H ellenistic P an-Daphnis g roup , A . H errmann p roposed t he v ase-painting a s a r eflection o f t he M arsyas a nd O lympos i n P olygnotos ' N ekyia .1 W hile h is i nitial p remise m ay b e c orrect , t here c an b e l ittle q uestion t hat t he s cene must h ave u ndergone a c onsiderable t ransformation i n t he v ase-painting ,

w here t he p residing A phrodite a nd E ros

h ighlight a n e rotic t one t oppled o ver t he b rink o f b urlesque b y t he s hocked r eaction o f a s mall P aniscos a nd a c oy f emale a ttendant . S uch a f lagrant p erformance s eems i nconceivable i n t he s etting o f t hat M usician 's C orner o f P olynotos ' H ades r eserved f or d oomed i nstrumentalists . M ore c redibly , t he v ase m ay r epresent a w ickedly e ffective p arody o f a r ather m ore s ensitive w ork . I f t he A pulian v ase-pa inting d oes i ndeed a llude i ndirectly t o t he m anner i n w hich t he t wo f igures w ere c ombined i n t he N ekyia, t hen t his might a ccount f or t he r ecurrence o f v ersions o f t he d istincitive g rouping i n t he P ompeian p ainting 7 5 ( Neronian , b efore A .D . 6 2) a nd 7 8 ( probably F ourth S tyle , V espasianic?) . T he t wo a re b y n o m eans i dentical i n t heir a pproach , a lthough a l andscape s etting w ith a t ree a t t he r ight i s c ommon t o b oth , a nd e ach i n i ts o wn w ay d iffers s omewhat f rom t he d esign o n t he v ase ; b ut s till t he s imilarities s eem f ar t o o utweigh t he d ifferences .

O f t he t wo ,

7 5 i s

c losest t o t he f orm o f t he v ase-painting, s howing M arsyas a nd O lympos s itting s ide b y s ide ; t he y outh p lays t he f lutes l eaning b ack a gainst h is t utor 's c hest , a nd j ust a s o n t he v ase , M arsyas ' s haggy f ace p eers o ver h is p upil 's r ight s houlder, h is r ight h and r eaching f orward t o d irect h im . D amage t o t he p ainting r enders i t i mpossible t o m ake o ut w hether t he s atyr 's l eft a rm f ully e ncircled O lympos ' s houlders t o g uide t he y outh 's l eft h and , a nd s o c omplete t he i nstructional e mbrace o f t he v ase-painting . T his e ssential f eature o f t he d esign - t hat M arsyas e xtends h is a rms a round h is p upil 's s houlders , a nd s o d irects h im p laying f rom b ehind - i s p reserved i n 7 8 . H ere , h e s teadies t he y outh 's r ight a rm a t a n a ngle t o h is b ody , w hile b ringing t o h is y oung l ips t he m outh-piece o f t he f lute h eld i n h is l eft h and . A s O lympos n o l onger b lows b oth f lutes, a nd i s n ow t ransformed i nto a s tanding f igure, t his s uggests s ome d egree o f c ontamination b y t he p revalent d idactic t radition , f ound i n C ampanian p aintings o f t he V espasianic p eriod ( 80 , 8 1) , w ith w hich t he a rtist m ay h ave b een f amiliar . B oth P lato ( Minos ,

3 18 B ) a nd P lutarch ( de M us . V ,

7 ) s tate t hat M arsyas

w as l oved b y O lympos , a s w ell a s b eing h is t eacher ; i t i s q uite f easible t hat , o f a ll t he v arious p ossible f ormulations , a n a ffectionate s tudy i n t he s pirit o f 7 5 a nd 7 8 , a nd a voiding t he c oarser s exual o vertones o f A 72 , m ay h ave b een t he s olution a dopted b y P olygnotos . B ecause o f i ts a ffinity w ith t he v ase-painting , 7 5 m ust b e p resumed t o r eflect m ore a ccurately t han 7 8

7 1

t he p rototype p arodied i n A 72,

whether o r n ot t his p rototype was

t he

g rouping o riginally r epresented i n t he N ekyia . T he R oman e rotic s trand a ppears t o r each i ts m ost e xtreme m anifestation i n

a d amaged

p ainting

f rom

H erculaneum

( 79;

V espasianic) .

T he

i dentification o f t he p ainting i s n ot e ntirely s ecure, a lthough H elbig t hought a M arsyas a nd O lympos g roup t he p robable s ubject ; c ertainly t he y outh i s n ot a h ermaphrodite , a s h e i s c haracterised i n s ome d rawings .1 2 ' Marsyas ' s its o n a r ock a t t he l eft , h is l eft a rm a round t he s houlders o f t he y outh s tanding b efore h im i n a manner f amilar f rom t he p revalent d idactic v ersion . B ut ' Olympos' t ries t o t wist f ree f rom h is g rasp, r estrained f rom d oing s o b y t he s atyr 's g rip o n h is l eft w rist .

T he y edum

a nd

f or w hile

s yrinix l ying n earby d o n ot

r esolve t he m atter e ither

w ay ,

t hey a re o ften a ttributes o f Marsyas, t hey a re e qually c ommon i tems o f g eneral s atyric p araphernalia . I t i s u nlikely t he w ork i tself c an y ield a ny f urther i nternal e vidence f or a M arsyas i nterpretation , a nd t he k nown c ompanion p ainting i s o f as atyr e mbracing a m aenad , r ather t han o f a ny m ore s pecific m ythological c onjunction . Y et ,

h aving

s een o ne s tatue-group o f M arsyas a nd O lympos

C ampanian p ainting ,

i t

r eflected i n

i s w orth n oting t hat t here m ay p erhaps b e e vidence

f or t he i ndependent e xistence o f aM arsyas-Olympos s tatue-group a nalogous t o t he s cene i n 7 9, c onveyed i n t he r eference o f P liny t o a nother w ork f eaturing ' Pan a nd O lympos ' . U nfortunately, h e r epeats h is e arlier a mbiguous c onfusion o f t he c haracters i nvolved : ( in a t emple a djacent t o t he T emple o f J uno ,

w ithin t he P ortico

o f O ctavia) . t he P an a nd O lympos g rappling ( luctantes), t he s econd

most

f amous

s ymplegma

i n

t he

world,

t he

work

o f

H eliodorus. ( NH X XXVI, 3 5)

T he t erm s ymplegma h as c onnotations b oth o f w restling a nd s exual c onnection , a nd

t he a ction o f 7 9 l ies s omewhere b etween t he t wo .

S trictly s peaking ,

n either a spect i s a pplicable t o t he k nown s tatue-group o f P an a nd D aphnis , which

i s

b asically

o nly

e pitomised b y 7 5 a nd A 72 ,

a mildly

e rotic v ariant

o f

t he

w ith P an s ubstituted f or M arsyas ,

c omposition

a nd t he s yrinx

f or t he f lutes . I f t he s tatue-group i n q uestion d id r epresent M arsyas a nd O lympos , t hen s o f amous a w ork c ould w ell h ave b een a dapted b y t he p ainter o f 7 9 . A g rouping s imilar t o t hat i n 7 9 w as r ecorded i n a p ainting f rom t he D omus A urea ( C2 b ) , w here i t m ay h ave b een c ombined a s a p endant w ith a nother t ype o f M arsyas-Olympos c omposition ( C2 a ) ; b oth a re d estroyed , a nd i nconsistencies i n t he d rawings a nd d escriptions w hich d ocument t hem p revent a ny f irm i dentification . T hree f urther w orks w hich d iverge i n v arying d egrees f rom t he m ainstram t ypes l ooked a t s o f ar c an s till b e i dentified c onfidently a s MarsyasO lympos

c ompositions .

T he

p air

w ere

a pplied

a s

a r elief

m otif

u pon a

c eramic p iece o f A ugustan d ate ( 82), r eputedly o f e astern p rovenance . M arsyas , s eated a t t he l eft a nd v iewed a lmost i n p rofile , i s d epicted i n a p osture m uch t he s ame a s o n t he g ems ( 87 - 9 1) , b ut i nstead o f a f lute , h e h olds r ight, a nd

u p a s yrinx f or h is p upil

t o b low ;

O lympos

s its b esides h im a t

t he

r ecalling t he S outh I talian ( and p erhaps P olygnotan ) v ersion o f A 72 ,

t he a dmittedly l ater p ainting 7 5 .

i nstrument a ssociated w ith M arsyas a s

7 2

H owever ,

a lthough t he s yrinx i s a n

w ell a s P an ,

i ts a ppearance h ere i n

c onjunction w ith a s eated

O lympos

m ay

i ndicate t he d esign t o h ave b een a

m odification o f t he H ellenistic P an-Daphnis g roup , a n u nsuspecting r eversion t o t he o riginal d ramatis p ersonae . T he m arble o scillum f rom P ompeii 8 3 ( ca . 3 rd q uarter o f t he i st c entury A .D ., f ig . 5 0) i s s everely d amaged, y et e ven s o Marsyas c an b e made o ut s itting o n a r ock a t f lutes;

t he l eft,

a nd h olding t he l ower e nd o f a p air o f

a s mall f igure s tands i n t he b ackground,

s ection o f

t he

s ame

i nstruments .

T he

C heiron a nd A chilles o n t he r everse ,

c lutching t he u pper

c ombination o f

t his

s cene w ith a

a s w ell a s e mphasising t he v alidity o f

a Marsyas i nterpretation, s uggests a r eference t o t he V oting E nclosure s tatue t ypes,

o r e ven t heir p ainted c ounterparts f rom H erculaneum ,

b een t he i ntention .

I f s o ,

h is

t he c arver f rom f ully r ealising h is o bjective, a pproximates A m osaic

m ay h ave

t echnically n aive r endering h as p revented a nd

t he g rouping

o nly

t o t he s upposed m odel . e mblema f rom

B accano

( VI a ;

l ater

3 rd

c entury A .D .?) d eparts

m ore r adically f rom t he g eneral p attern o f M arsyas-Olympos i conography . w as a c ompanion s cene t o a h anging M arsyas c omposition ,

I t

t he o nly s urviving

i nstance o f aM arsyas-Olympos s cene a s p art o f a M arsyas c ycle i n R oman a rt . I t i s t he w ork o f a n i ndividual mosaicist o r w orkshop w hose i nventive u se o f s ource m aterial w ithout l osing s ight o f t raditional f ormuale h as a lready b een o bserved . O lympos s tands b efore h is m aster w ith a f lute h eld i n e ach h and ; i n o nly t his e xample a monst s urviving R oman M arsyas-Olympos w orks d oes

t he y outh a ppear d ressed i n f ull e astern c ostume ,

i n ar ange o f c ontest a nd p unishment s cenes .13

a lthough h e d oes s o

M eanwhile , M arsyas r eclines

i n t he f oreground i n a p ose w hich r ecalls h is s ubsidiary r ole a s a r iver d eity - w hich h ad c ontinued t o i nterest R oman w riters - a nd i s r eminiscent o f

h is

a ppearance

i n

t his

c apacity

o n

P hrygian

c oinage .1 4

T he

c oinage

c onfirms t he e nduring i mportance o f t he f luvial M arsyas i n P hrygia , a t l east u p u ntil t he m id 3 rd c entury A 01 , a nd s ince a nother c ompanion e mblema o f V I a h as a r iver d eity a s

s ubject,

i t

s eems

t he m osaicist c ould w ell h ave

e xploited t his a spect o f M arsyas ' p ersona . T his i s t he o nly p reserved R oman M arsyas-Olympos s cene , e xcluding t he d oubtful C l ( below) , i n w hich t he s atyr i s n ot s eated o n a r ock o r b lock , a nd t here m ust s urely h ave b een a c ogent r eason t o a lter s uch a s tandardised f ormula ; w hile t here i s e vidence i n t hese m osaics o f a n i nclination t o v ary c onventional i conography , t he v ariations a re n either w ayward n or i llogical . A f ourth w ork ( Cl) ,

p robably d eviates

s o f ar

t he e stablished c haracterisation o f Marsyas a nd O lympos,

i n i ts

c ombination o f a y oung s tanding s atyr w ith a s yrinxplaying i nfant,

t hat i t

c an b e d iscounted a s r epresenting t he p air .

f rom a

f rom

a p ainting f rom P ompeii ,

B ut a s

i t

c omes

d ifferent p art o f t he s ame h ouse a s 8 1, a s light p ossibility o f i ts b eing a c onscious a ttempt t o v ary t he m ore t raditional a pproach m ay r emain . T here

i s n o d istinct i mpression o f a ny e volution o r s hift

t hroughout t he p eriod c overed b y v ersion a ssociated

w ith

t he

R oman Marsyas-Olympos

t he s tatue-group f rom

i n e mphasis w orks.

t he V oting E nclosure i s

T he t he

e arliest t o a ppear ; i t s eems a lso t o h ave b een t he m ost w idespread , a nd c an b e s een t o h ave m aintained i ts i nfluence u ntil t he l ate 2 nd t o e arlier 3 rd c entury A .D .

B ut

e vidently

a v ariety

o f

o ther

t raditional

s chemes

w ere

t aken u p a nd r efashioned b y R oman a rtists, i f t he r ange o f d ifferent t reatments f rom P ompeii a nd H erculaneum c an b e r egarded a s t ypical . E ven i n t he r estricted a rea o f C ampanian p ainting, s uch i s t he d iversity o f c omposition ,

s tyle a nd q uality o f e xecution ,

t hat,

t aking i nto a ccount t hat

t he d ecorative c ontext o f c ertain p icture i s n ot k nown ,

7 3

f ew u seful p ointers

t owards e stablishing r elative c hronology o r w orkshop i nvolvement s tand o ut, b eyond

t hose

d iscernible

i ndividual

c onnections

why t he s ubject

a lready n oted .

N o

o bvious

r eason

i s

s hould h ave b een e specially p opular with

p ainters ' workshops a ctive i n t he

F ourth

S tyle,

o ther

t han a g eneral

i nterest p rompted b y t heir a cquaintance w ith o ther p hases o f t he s tory .

T he

i mpact o f a s ingle i nfluential work o f a rt might b e e xpected t o h ave g enerated

a more u nified

r esponse,

a nd

n o t race

c elebration o f t he e pisode f rom t he p eriod s urvives .

7 4

o f a ny n ew l iterary

C hapter 7 C YCLES A ND C ONTEXT I t

i s

a f eature

o f

s ome

M arsyas

c ycles

f ound i ndependently o utside t he c yclic

t hat

t hey i nclude

c ontext .

S everal

s cenes

amongst

n ot

t hem,

i ndicated b elow , h ave b een c onsidered a lready , b ecause o f t heir d erivation f rom, o r r elation t o, d esigns e xisting a s i ndependent, s elf-contained s cenes.

1

O n t he r ight e nd ( b) o f s arcophagus X I ( A .D . 1 50-170/80) M arsyas s toops t o p ick u p a p air o f f lutes f rom t he e dge o f a p ool o r s tream , d elineated b y u ndulating w avelets , i n al andscape s etting f urther d efined b y a t ree , r ocks a nd a s pring n ymph . T hese must b e t he f lutes r ejected b y A thena a fter s he s aw h er d istorted f ace r eflected i n t he s tream o r p ool , a n i ncident r ecalled i n m any v ersions s urviving

o f

a ccounts ,

t he myth o nly

t hose

f rom o f

t he O vid

5 th

c entury B .C .

a nd P ropertius

o n .

H owever ,

o f

r efer e xplicitly t o

t he f ate o f t he f lutes b efore t heir r etrieval b y M arsyas:

i n O vid ( Fasti V I ,

6 96 f f .) A thena f lings t hem o nto t he r iver b ank , w hile P ropertius ( II , 3 04 1 7) h as h er c ast t hem i nto t he s hallows o f a P hrygian r iver , t he M eander .' T he s cene i s o nly k nown f rom t his o ne w ork ,

a nd w as c ertainly n ot p art o f

t he u sual i conographic p attern i n t hose a rt-forms t hat h ave c ome d own t o u s . G iven t hat i t o ccurs i n a c ompilation o f n on-standard s cenes d rawn f rom d iverse s ources - o ne o ther o f which ( c) a ppears t o i nclude a d irect l iterary r eference - i t c ould p erhaps b e a n i llustration o f a l iterary v ersion

o T

t he

i llustration .3

e pisode,

o riginated

h ere,

o r

c opied

f rom

a

b ook

T he d esign b alances t he s cene a t t he o ther e nd ( a ) o f t he

s arcophagus : M arsyas w ith t he f lutes b efore A thena . It i s n ot e ntirely c lear w hether b w as i ntended t o s tand i n as equential r elationship t o a ; i f s o, b must p recede a , a lthough t his would t hen i nfer a s ubsequent r approchement b etween M arsyas a nd A thena n ot k nown f rom e xtant l iterature . P erhaps i t was meant i nstead t o s upply a n a lternative b eginning t o t he s tory ;

i t h as b een r ecognised t hat

t he e nd p anels o f c yclic s arcophagi c an

f unction a s c omplementary p redelle , a mplifying t he m ain v isual f ield , n ot n ecessarily a dhering t o i ts n arrative s equence .4

w hile

T he M arsyas - ' Muse '

g roup ( scene c /d) f rom t he s ame s arcophagus h as b een d iscussed e arlier a s a M arsyas d efeated c omposition ; i t d oes n ot s eem t o h ave b een a pplied s eparately a s a n i ntegral s cene , e xcept i n t he f orm o f d irect c opies o f t he H ellenistic g roup o n w hich i t w as b ased .5 T he d erivation o f t he two p leading O lympos s cenes,

o n s arcophagus

f ragment X VII ( earlier 3 rd c entury A .D .) a nd i n t he d estroyed p ainted s tucco ( ?) p anel V c ( Antonine? ;

f ig .

5 2) ,

h as a lso b een t ouched u pon p reviously .6

T he s arcophagus f ragment d esign w as a dapted f rom a n e xisting f orm o f s imple c onfrontation b etween M arsyas a nd A pollo b y t he a ddition o f O lympos a nd N ike ;

i ts p lace i n t he o verall n arrative s equence i s s elf e vident : f ollowing

t he d efeat o f Marsyas, b ut b efore h is p unishment. H owever, t he o nly s urviving t races o f a n a djacent e pisode a llow n o f irm c onclusions a bout t he n ature o f t he a ccompanying s cenes, b eyond t hat t ogether t hey c onstituted p art o f a c ycle, a nd t hat t his d id n ot c ontain a c onventional a rray o f s cenes. T he

v ersion

i n

p anel

V c was

7 5

a bstracted

f rom

t he

b ound

M arsyas

i conography ,

t he r esult o f d istributing t he c omponents o f a s tandard b ound

M arsyas c omposition b etween t his a nd i ts c ompanion b ound M arsyas p anel ( b) , p robably

i n

a n

r equirements o f

e ffort

t o

e xtend

t he

s ubject

t his p articular d ecorative s cheme ,

material

t o

meet

t he

w here a s econd p air o f

s ubsidiary p anels w as n eeded t o f lank a l arger c entral m otif , a s d o Va a nd b . H aving c reated t he t hird s cene ( c) i n t he m anner j ust o utlined , a f ourth ( d) w as n ow n ecessary , t o c omplete t he s et a nd b alance t he t hird , w hich i t w ould f ace a cross t he v ault . P resumably n one o f t he s tandard r epertoire was t hought

t o b e a ppropriate,

f or d a ppears t o h ave b een a n ew s cene

e volved t o c omplement c , f rom w hich , e ssentially , i t w as d eveloped . T he a rrangement a nd c haracterisation o f t he f igures i n t he two s cenes was a nalogous, o nly n ow i n d , r ather t han p leading , O lympos r ushed a way f rom A pollo ,

h is a rms

r aised

i n a gitation o r d istress .

I t s eems

d epicted was e ither A pollo 's r efusal o f O lympos ' p lea, s urviving l iterature ,

b ut

t he i ncident

n ot r ecorded i n

i mplicit i n t he s ubsequent e xecution o f M arsyas,

o r a s equel t o t he p unishment r ecorded b y P liny a nd t he l ater mythographer H yginus , w here O lympos w as g iven t he t ask o f b urying M arsyas ' r emains .7 B ecause o f i ts c onnection w ith , a nd i ncorporation i nto , R oman p unishment s cenes , w e h ave a lready t ouched u pon t he s chema o f a f emale f igure , u sually l eaning a gainst a s hort c olumn a nd w ith h er r ight h and e xtended i n a n i nterlocutory g esture ,

w ho s tands b efore a s eated A pollo .8

I t a ppears o n

i ts own a s a s elf-contained s cene within a c yclic c ontext o n t hree o ccasions, a nd a lways i n c lose c onjunction w ith a p unishment s cene a lthough i ts p recise l ocation i n a ny n arrative s equence i s u nclear . W henever a pplied i n t his w ay , i t s eems t o h ave f unctioned l argely a s a n o ptional t wo-figure s pace-filling u nit, p erhaps a t t he s ame t ime a dding e mphasis t o t he c ompanion p unishment s cene t hrough i ts o wn a ssociation w ith t he t erminal p hase . 3 7

( II ;

S o o n t he n orth w all ( c) o f a r oom i n P ompeii V III 5 ,

V espansianic) i t c omplements

t he p air o f t wo-figure p anels o n t he

s outh a nd west walls ( a a nd b ; f igs . 3 0, 2 1), f ormed f rom a d ivided p unishment s cene . I n t he P orta M aggiore h ypogeum ( IV b ; c a . A .D . 2 5) i t j oins a s econd t wo-figure s cene ( a) ,

a lso l ittle m ore t han a s pace-filler ,

o n t he s outh s ide o f av ault, i n o rder t o b alance t he f our-figure b ound Marsyas s cene i n t he c orresponding p anel o n t he n orth s ide ( c; f ig . 3 3) . T he s ame s chema o ccurs a djacent t o t he h anging M arsyas o f t he m ain f rieze , o n t he r ight e nd o f s arcophagus X II ( d ; A .D . 1 70/80-200) , a w ork f eaturing a n e xtended d ivided p unishment s cene a long w ith t he c ontest, b ut n o A thena e pisode. I t

i s

c onceivable

t hat

t he

c omposition

f rom

t he

l eft

e nd

( a)

o f

s arcophagus X XI ( A .D . 2 90-300) may a lso b e a v ariation o f t he s chema , a lthough i n d etail i t i s u nique t o t his o ne work : A pollo s its with t he c ithara , b undle

w hile a M use s tands b efore h im h olding a t orch i n o ne h and ,

i n

t he

o ther

-w hich m ay b e

t he u nfortunate

s atyr 's

s kin .

a nd a A gain

t here i s n o A thena s cene , a nd t he i magery o f t he s arcophagus a s a w hole c oncentrates o n t he c ontest a nd p unishment , w ith a v ery d efinite e mphasis o n A pollo 's v ictory , a s t he t riumphant c ompetitor-Apollo a nd t he r ight e nd s cene ( b ) b ear o ut .

T he c omposition o f t he r ight e nd p anel ,

a lthough b ased

o n a f amiliar m otif, a ppears o nly t his o nce a s a s eparate c omplementary s cene i n a M arsyas c ycle ; i t s hows a t riumphant A pollo s tanding w ith h is p lectron h eld h igh a nd s upported b y a f emale a ttendant, v ictory p alm .9 s cenes.

T hese

f ew

c ompositions

who c arries a

c omplete o ur s urvey o f i ndividual

W hen s cenes d epicting d ifferent e pisodes a re b rought t ogether , t hen a c ycle i s c reated, i n w hich t he c ombination o f s cenes p resented g enerally

7 6

i mplies s ome t ype o f s equential p rogression ,

a nd c orresponding d evelopment

o f

s een ,

n arrative

c ontent .

H owever ,

a s

w e h ave

a s ubsidiary

s cene

m ay

s ometimes b e i ntroduced t o e laborate u pon s ome s econdary a spect o f t he s ubject ( as X XI b a nd p erhaps X I b ); o r i n r esponse t o t he p ractical r equirements o f a s pecific d ecorative s cheme ( as I I c , I V a a nd b , V ca nd d ) - i n w hich c ase t he c oherence o f t he n arrative e lement c an b e p ut u nder

s ome

s train ,

e ven t hough

f ormal

T he c omposite s tructure o f a c ycle ,

c onsiderations

a nd

t he

w ay

h ave

i ts

b een s atisfied .

i ndividual

c omponent

s cenes r elate i nternally o ne t o a nother , w ill h ave a b earing b oth o n o ur p erception o f i ts h ermeneutic i ntent, a nd o n i ts a esthetic f unction w ithin t he

h uman

e nvironment

c onstituent p arts n ot n eed a n e xtended

- a s

when a work

f alling

i mmediately

t imespan a nd movement

with

w ithin

a n umber

o f

t he

o f v ision m ay

i n r eal

f ield

s pace

d ifferent

t o t ake i n i ts

e ntirety . E pisodes c hronicling t he l ife o f Marsyas a nd h is r elationship with A thena a nd A pollo a re i ncorporated i nto a n umber o f d ifferent f orms o f n arrative f ramework . T he p ainting I ( fig . 2 ) a nd m osaic V II b oth p resent t wo e pisodes w ithin a m ore o r l ess c onsistent l andscape s etting i n a s ingle c ontinuous n arrative p anel , t he

n arrative

c ontest) ,

r eads

f rom

t he s equence b eing d eveloped v ertically . t he

f oreground

( Athena)

t o

t he

I n I

b ackground

( the

b ut t he h igh v iewpoint e mployed means t hat t he a ction i s d isposed

v irtually

i n

r egisters,

a tmospheric

p erspective ,

b ackground ,

a nd

o f

s tarting g iving

a s light

f rom

t he

a l ighter

d iminution o f

b ottom .

g radation t he

T he

o f

f arther

t one

e ffects t owards

f igures,

o f t he

r ender

a n

i mpression o f s patial d epth a bsent f rom t he m osaic , w here t he a rrangement o f t he f igures i s m ore s chematic . T he l andscape o f V II s erves o nly a s am eans t o h armonise t wo q uite s eparate s cenes within a s ingle v isual f ield. A lthough t echnically t he s tory r eads f rom t he t op , t he i nternal s tructure d epends m ore u pon t he d eployment o f t he f igures h ighlighting t he c ontrasts a nd s imilarities b etween t he t wo e pisodes: A thena a ppears w ith t he f lutes a t t he t op l eft , w hile b elow h er i s A pollo w ith h is i nstrument ; a t t he u pper r ight M arsyas, b eneath,

i n h is f ormer s tate o f h appy i nnocence ,

h e i s h anging f rom t he t ree,

s pies u pon A thena ;

p unished f or h is h ubris.

b esides e mbodying s uccessive n arrative e pisodes,

t he two s cenes

T hus, a lso

f unction a s t hematic a nd c ompositional p endants .1 0 S even s arcophagi f eature a c ontinuous n arrative f rieze w hich g ives a s traightforward a ccount o f t he s tory i n t hree s cenes ( Athena, c ontest, p unishment) , r ead c ontinuously a nd i n o rder f rom t he l eft ( XIII - f ig . 5 4 , X IV, X V - f ig . 5 5, X VI, X VIII, X IX - f ig . 5 6, X X - f igs. 1 8, 5 7) . B alance , r hythmic p attern a nd r epetition a re e xploited w ith v arying d egrees o f s uccess

t o u nify t he o verall d esign ,

X II a nd X XI ( below) .

a s a lso o n t he m ain f rieze o f X I ,

O ne o f t he b est p reserved a nd m ost s ophisticated ,

X V

c an s erve a s a n e xemplar o f t he a pplication o f a r ange o f t hese t echniques . F igures o f M arsyas o ccur a t t he e xtreme l eft a nd r ight o f t he f rieze-panel , w ith a nother a lmost d irectly o n t he c entral a xis; a t o nce t his makes a c onceptual s cheme p anel,

l ink b etween t he

c onveying

t hat

l inear

s tory ,

a nd

p rogress t he

o f

p hysical

t hrough t he s ymmetrical d ivision o f i ts

t he

s tory ,

f abric s urface .

o f

t he t he

d ecorative s arcophaugs

T he p artition o f

t he f rieze i nto t wo h alves, d ivided a round t he c entral Marsyas, c ounterpoints t he e ntirely s eparate t ri-partite n arrative d ivision o f t he t hree s cenes .

P layed o ff a gainst t his i s t he s ubtly a ccelerating m omentum

i mparted b y t he t urning h eads o f t he m ain c entral b lock o f s ix M uses , v iewed i ncreasingly i n p rofile a s t hey n ear t he r ight, g aze o n t owards t he t erminal s cene . f low o f o pposing d iagonals,

w hich u rges t he s pectator 's

E stablishing a d ifferent

w hich b reak o utwards

7 7

r hythm i s a

i n s uccessive w aves f rom

t he V -formation o f M arsyas a nd A pollo a t t he o ff-set c entre o f t he c ontest s cene. T he p ainted s cheme o f I II,

c overing t hree walls o f o ne r oom,

i s a

c urious h ybrid , p robably w ith m ore o f c ontinuous n arrative i n i ts m ake u p t han a ny o ther n arrative m ode . A s etting o f ' theatrical ' a rchitecture r uns more o r l ess a pparently S tar . s tory

w ithout a b reak o ver f our walls,

c arrying

a s cene

o f

t he

c ontest

t he f ourth ( west) w all

b etween V enus

a nd

t he

E vening

E ach o f t he p rincipal c haracters o f t hree e pisodes o f t he M arsyas ( Athena, c ontest, p unishment) o ccupies a s eparate a rchitectural

c ompartment, w ith a c ast o f ' extras' i nhabiting t he b ackground s cenery . T here i s n o s pecial d emarcation i n t he a rchitecture t o d istinguish o ne s cene f rom a nother ( the s cenes a re n ot s imply a rranged o ne p er wall), t his f unction b eing l eft t o t he p erceived i nteraction o f t he f igures , a nd t he o rder i n w hich t hey a re d isposed a round t he w alls . A pollo a ppears a t t he m iddle o f t he t wo m ain w alls ( north a nd s outh) w ithin a c entral a edicula , s o t hat

t he t wo f igures o f t he g od f ace e ach o ther d irectly a cross

t he r oom .

T his a pposition w ould s urely h ave b een a n i ntentional f eature o f t he d esign ; i t h as a s triking e ffect when v iewed i n s itu . " O n t he s outh wall, s ubsidiary n iches c ontaining A thena a nd M arsyas ( both w ith f lutes) f lank t he c entral a edicula ; t he f irst t wo e pisodes o f t he s tory a re t hus c ompressed i nto a s ymbolic a rrangement b alancing t he t wo f lautists o n e ither s ide o f A pollo . O n t he f acing wall t he s eparate f igures h ave l argely b een a bstracted f rom t he s tandard i conographic p attern f or t he b ound M arsyas . T he c omposition i s s kilfully h eld t ogether b y t he c ommumication b etween t he c haracters

i mplicit

( east) e xtends i n

s imilar

c oncentrated

i n

t heir

t he p unishment

g estures t heme ,

a rchitecture . o n

t he

c entral A pollo ,

a nd

A lthough

f acing n orth

g lances .

w ith a dditional

a nd

t he

s outh

main

w alls,

T he

e ntrance

d esign e ach

e mphasis

d ominated

b y

i s i ts

t he w hole s cheme c an b e r ead a s a c ontinuous s equence f rom

A thena , a t t he l eft o f t he n orth w all , t hrough t he c ontest ( Apollo , a nd o nlookers) w alls. ' 2

w all

S cythian e xecutioners

o n

t he

s ame

w all,

M arsyas

t o t he p unishment o n t he e ast a nd s outh

A nother t hree s arcophagi h ave a c ontinuous n arrative f rieze u pon t he f ront p anel ( XI, X II, X XI: f igs . 2 7 - d etail, 5 3, 5 8) . B ut i n a ddition t hey c arry s upplementary s cenes o n o ne o r b oth e nds ( discussed a t t he b eginning o f t he c hapter) e nlarging u pon t he m ain d esign o f t he f ront p anel . T his

m ain d esign i n e ach c ase d eviates

f rom

t he m ore c onventional t hree-

s cene a pproach f ound o n X III - X VI a nd X VIII - X X .1 3 T he c omposition o f t he f ront p anel o f X XI ( contest, p unishment) i s d isjointed, l acking a ny o verall

s cheme

b eyond a s trong

f ocus

u pon

t he

c entral

A pollo .

B y

c ontrast , t he f our c ompact s cenes o f t he f ront p anel o f X I ( contest, M arsyas d espondent, M arsyas c aptive , p unishment) a re r un t ogether a lmost s eamlessly , p unctuated o nly b y a t ree l ocated o n t he c entral a xis. I n e ach o f t he t hree c onsecutive e pisodes l eading u p t o h is e xecution i n t he f inal s cene , M arsyas s teps t owards t he r ight, i mpelling t he s pectator 's e ye t o f ollow a s h e p rogresses t o h is f ate . T he s hortcomings o f t he s olution a dopted f or t he f ront p anel o f t he t hird s arcophagus, X II, with two s ections o f a d ivided p unishment s cene b racketing t he c ontest, h ave b een d iscussed a lready .' w ithin

S ince t wo e pisodes f eaturing t he s ame c haracters a re c ontained

a s ingle

c ontinuous

f ield ,

t his

a lthough t here i s n o l ogical c onnective c orresponding t o t heir n arrative s equence . t he a rrangement i s e ffective . i s o ff-set

t o t he r ight ;

t o

c ontinuous

n arrative ,

r elationship b etween t he s cenes E ven s o , i n p ure d esign t erms,

T he c omposite d esign p ivots a round t he

f luting M arsyas o n t he c entral a xis. i tself

a mounts

T he c entre o f t he c ontest s cene

t his s cene h as

7 8

i ts o wn i nternal s ymmetry ,

w hich d oes n ot p articipate i n t he g reater s ymmetrical p attern w hich s pans t he w hole s cheme .

A pollo , a nd M arsyas h anging , b alance o ne a nother a t t he

t wo e xtremities o f t he p anel, w hile t he c losely m atched f igures ( Olympos a nd t he k nife-grinder )

k neeling

b efore

t he

g od

a nd

h is

v ictim

m ake

e ach

e nd

a ppear a lmost a m irror-image o f t he o ther . T he r ank o f n ine Muses d ispersed t hroughout t he l ength o f t he b ackground h elp t o u nify t he o verall c omposition .

A s imilar f ormula - a d ivided p unishment f raming t he c ontest

-a ppears t o h ave b een e volved f or t he f ragmentary r elief V III ,

b ut a pplied

w ith l ittle o f t he s ubtlety o r s tructural i ntegrity o f X II . T he c entral a xis o f t he s arcophagus f rieze c ould b e a n i mportant d esign f actor ,

c apable

o verall

s cheme ,

o f b eing u sed

a mongst

t he

c ontest

s cene p rototype ( XII,

a nd

s eries

a t

e mphasise

o ne a nd

s ome

t he

i nternal

s ame

t ime

f eature .

t o a rticulate a n I t

i s

n oticeable

o f s arcophagi most c losely d ependent u pon t he e xtended X IV - X VI,

X VIII - X X),

where t he s cene

o cupies t he c entral a rea o f t he f rieze, t hat t here i s a d istinct c hronological d evelopment, w hich g radually s hifts t his e mphasis f rom M arsyas t o A pollo ,

b y r elocating t he A pollo-Marsyas g roup p rogressively f urther t o

t he l eft ( damage p rohibits f ull a nalysis o f X IV a nd X VI) . v ery c lose t o ,

t he a xis o n X II ( A .D .

o n X VIII ( A .D . c entral a xis,

2 20 - 2 30) t he

t wo

c ontestants

s tand

a nd t he s ymmetry o f t he c ontest

f rieze a s a w hole ;

M arsyas i s a t,

1 70/86-1- 2 00) a nd X V ( A .D .

o r

2 00 - 2 10) ;

o n e ither

s ide o f

t he

i s a ligned w ith t hat o f t he

f inally , A pollo o ccupies t he c entral a xis, o r i s l ocated

e xtremely n ear t o i t,

o n X IX a nd t he d amaged X X ( both mid t o l ater 3 rd

c entury A .D .) . T he l ess c losely r elated s arcophagus X XI ( A .D . 2 90 - 3 00) a lso l ocates A pollo o n t he c entral a xis. R ather t han r epresenting a ny s ubtle r edefinition o f t he s ymbolic s cheme o f t he s arcophagi, e vidence

o f

t he d rift

t owards

t his i s

a c entralising t endency o bservable i n o ther

s eries o f s arcophagi d uring t he s ame p eriod , a lthough i t m ust c learly m ark a m ore

o vert

e xpression

o f

t he

d ivine

c haracter

o f

A pollo a s

t he d ominant

e lement o f t he p rogramme . T he r emaining s even c ycles a re made u p f rom s elf-contained s cenes g rouped t ogether ( II ,

I V ,

V ,

V I ,

I X ,

X ,

X VII) .

A gain ,

t he w ay

t he

s cenes

a re d eployed within t he o verall s cheme c an b e a f actor g overning h ow s uccessfully t he w orks f unction a s a n e nsemble ,

a nd a ffecting t he i nternal

c omposition o f t he i ndividual s cenes . T he i nterdependence o f t he s eparate c omponent s cenes o f I V a nd V ,

a nd

h ow t his h inges u pon t heir s patial r elationship w ithin t he d ecorative s cheme , h as b een c onsidered a lready .

T he M use-Sarcophagus I X a nd m osaic V I

b oth f eature a p endant p air o f Marsyas

s cenes.

T here

i s

a n o bvious

n arrative c onnection b etween t he c omplementary two-figure c ontest a nd p unishment s cenes which a ppear u pon t he o pposite e nd p anels o f t he s arcophagus .

B ut t he p air o f m osaic e mblemata w ith M arsyas a nd O lympos i n

o ne , t he p unishment i n t he o ther , o ffer n o d irect n arrative o r c ausal l ink ; t hey m erely s how M arsyas i n t wo s eparate s tates o f e xistence .

A pparently

t he t wo s cenes d o n ot f orm a u nified p rogramme a long w ith t heir c ompanion e mblemata ,

a nd

t hey e xhibit n o r eal a ttempt

t o m ake a g ood c ompositional

m atch b eyond t he p rovision o f a r oughly e quivalent l andscape s etting . i ndividual

e pisodes

c arved

o n t he

f ragmentary

s arcophagus

X VII

T he w ere

s eparated b y l ion-mask h andles, b ut a n i nclination t o m inimise t he i mpact o f t he d ivision c an b e s een i n t he w ay t he f lutes h eld b y M arsyas i n t he l eft ( incomplete) s cene o verlap t he s houlder o f h andle ,

t he O lympos c rouching b eneath a

w ho b elongs i n t he n ext s cene .

T he d istinctive f eature o f t he l ast

7 9

t wo o f t hese c ycles ( II a nd X ) i s

t hat w hile b oth h ave t hree s cenes ,

i n e ach c ase t wo o f t he s cenes c ontain

s eparate s ections o f as ingle b ound M arsyas c omposition , d ivided b etween t he t wo

p ictorial

f ields .

T he e nd r esult

i n b oth i nstances,

r eflecting t he o riginal i ntention b ehind t he d ivision ,

p resumably

i s a t otal o f t hree

e venly b alanced t wo-figure s cenes , w ith a n o verall t hematic b ias t owards t he p unishment .

T he

t hree

p ainted

p anels

o f

I I

f orm

t he

p rincipal

c entral

f eature o f t hree walls o f a s mall r oom, t he f ourth wall c ontaining t he e ntrance . T he p icture o f A pollo w ith O lympos p leading ( b) i s o pposite t he d oorway ; Marsyas a nd t he S cythian ( a) a re t o t he s pectator 's l eft, c ontinuing t he b ound M arsyas c omposition c ommenced o n t he a djacent w all ; A pollo a nd a M use ( c) a re t o t he r ight, d irectly f acing t he b ound M arsyas p anel . T he p rogramme i s n ot e ntirely c onsistent , i n t hat t he t wo A pollo s cenes h ave a n i nterior s etting w hich c ontrasts a wkwardly w ith t he l andscape o f t he M arsyas s cene, p erhaps r egarded b y t he p ainter a s a n ecessary c oncomitant o f t he t ree t o w hich M arsyas w as c onventionally s ecured . T he t hree s cenes o n t he s arcophagus p anel X a re c ontained b y g arlands : f luting

a t

t he

t he r ight ( accompanied b y a n ymph) .

Marsyas a nd t he S cythian , i n t he

e xtension t o t he p unishment s cene o f which A pollo i s p art, c entral f ield ; M arsyas i s h ave d etermined h is f ate . T he

r ange

A thena

l eft ( with a s mall C ybele) i s c ounterbalanced b y A pollo a t

o f

e pisodes

m eans c onstant .

o ccupy t he

t hus p oised p owerless b etween t he f orces w hich

s elected

f or

t he R oman M arsyas c ycles w as b y n o

A b ody o f t hree-scene w orks ( III ,

X III - X VI ,

X VIII XX) ,

l argely s arcophagi, h andle t he t hree k ey e pisodes - A thena w ith t he f lutes , t he c ontest, a nd t he p unishment ( bound M arsyas o nly i n t he p ainted c ycle I II) .

T he r emaining t hree-scene c ycles a re m ore v aried i n t heir a pproach :

t he s arcophagus X h as s cenes w ith A thena ( a) a nd a d ivided p unishment ( b/c ; b ound M arsyas) ; t he p ainted s cheme I I c ontains a d ivided p unishment ;

( 7 5

b ound

M arsyas)

a nd

t he

p unishment-related v ariant

s cene o f A pollo

w ith

a

s tanding f emale ( c) ; a nd t he s et o f s tucco-reliefs I V i ncludes a v ariant M arsyas-Athena s cene ( a) , t he p unishment ( c ; b ound M arsyas) , a nd t he s ame A pollo-female g roup ( i o ) . T he

c ombination

c onsistent :

o f

e pisodes

i n

t wo-scene

works

was

n o

A thena a nd t he c ontest a re p aired i n t he p ainting I ;

more

M arsyas

w ith O lympos ( a ) a nd t he p unishment ( D ; h anging M arsyas) i n t he m osaic V I . B oth a rchitectural r elief V III a nd s arcophagus L X ( a b ) c arry t he c ontest a nd p unishment ( hanging M arsyas) . T hose d iverse

c ycles

p icture ,

c ontaining t ending

i conographic f ormulae ,

t o

m ore e xpand

t han t hree t heir

s cenes

p resent

r ange u sing

a s till m ore

l argely n on-standard

s ome e vidently c onceived f or t he s pecific w ork w here

t hey w ere a pplied, a lthough s arcophagus X II i s a n e xception p rinciple, w ith t he c ontest ( b), a d ivided p unishment ( a/c ; M arsyas) ,

a nd

M arsyas-scenes

o nce i n

a gain t he

t he A pollo-female

s chema

l ost d ecorative s cheme V :

p leading ( c) a nd r ejected ( ?

-d ) ,

( d) .

T here

t he c ontest

b oth u nusual s cenes,

a nd

t o t his h anging

w ere

( a ) ,

f our

O lympos

t he p unishment

( p ; b ound M arsyas) . T he s arcophagus X XI a lso h as f our s cenes : a nd p unishment ( hanging M arsyas) o n t he f ront p anel ( c) , a nd s cenes r elating t o t he t riumph o f A pollo o n t he e nds ( a , b ) .1 5

t he c ontest t wo v ariant

T he m ost e xtensive s urviving M arsyas c ycle i s u pon s arcophagus X I ; s ix e pisodes f orm a m ore o r l ess c oherent s equence f rom M arsyas '

i ts

d iscovery

o f t he d iscarded f lutes a nd a s econd - p erhaps a lternative - i nitial s cene , t hrough t o h is e xecution ( hanging M arsyas) .

S urprisingly ,

o nly o ne o f t hese

s cenes ( f) i s k nown f rom o ther c ycles i n t he f orm i t a ppears h ere ;

8 0

t he r est

a re v ariant s cenes o r r arities f rom t he M arsyas r epertoire s ubstituted f or t he m ore u sual v ersions . O n t he r ight e nd p anel ( b) M arsyas f inds t he f lutes, while o n t he l eft ( a) h e meets p eaceably w ith A thena ; b oth a re h ighly u nconventional s cenes 1 7 t he f irst s eemingly d erived f rom t he l iterary t radition o f t he m yth , t he s econd b ased u pon a m inor p re-Roman v ariant - a nd n either a cknowledges t he c rucial f eature o f t he R oman mainstream i conography , e xcept b y i nference i n t he c ase o f b , t hat A thena s hould b e u nderstood t o r eject t he f lutes b ecause s he h as s een h er r eflection . N or d oes t he c ontest s cene ( c) a t t he l eft o f t he f ront p anel c onform t o a ny o f t he s tandard p atterns f or t he e pisode ; a gain t here a ppears t o b e a l iterary r eference , t he i nverted c ithara h eld b y A pollo r ecalling t he t rick t hat w on h im ( d ) t he l ed

t he c ontest i n s ome R oman a ccounts o f t he m yth .1 6 T he a djacent s cene s hows a d espondent M arsyas a ccompanied b y an ymph ( or ' Muse ') , b orrowing f orm o f aH ellenistic s tatue-group , a nd t hat w hich f ollows ( e) , M arsyas c aptive b efore A thena , m ay e ven h ave b een s ubstantially c onceived f or

t his s pecific c ontext .1 7

O nly t he f inal h anging M arsyas a nd S cythian

g rinder (0 a ccord w ith a s tandard f ormula . O n X I t here a ppears a lmost t o b e a c onscious a ttempt t o a void t he 7 c onventional i conography , which was r eally s o w idespread t hat t here i s l ittle c hance t he c arver w as n ot a ware o f i t . E ven t hough t he p assage f rom -

-

s cene t o s cene i s w ell h andled , t he l asting i mpression i s o f a c ompilation o f s cenes c ulled f rom d isparate s ources . D oubtless i t i s t his e ffect w hich h as l ed t o t he s upposition t hat t he s arcophagus c ould p erhaps r epresent a s traightforward t ranscription f rom a m odel-book .1 8

T his s eems u nlikely , i n

t hat t he ' models ' a re s uch a r econdite s election , a nd o ne m ight s urely e xpect t o f ind f urther r ecollections o f t he s ame s ource o n o ther s arcophagi , o r e ven i n w orks i n o ther m edia ; t he c aptive M arsyas f rom e ( although n ot t he c omplete s cene) m ay f it t he b ill , b eing f ound i n t wo 4 th c entury A .D . m osaics ( 3a , a nd 3 1) , b ut t he o thers h ardly d o . K . S chefold 's p roposal o f a p icture s tory-book w ithout t ext i s more a ttractive, a lthough i t w ould p robably n eed t o h ave b een a r elatively l ate c reation , r ather t han t he e arly o ne h e s uggests , i n o rder t o a ccommodate t hose f eatures o f t he p rogramme w hich m ay h ave b een c onceived n ot l ong b efore .1 9 H owever, p erhaps b ook o r m anuscript i llustration m ay o ffer a m ore p lausible o rigin f or t he s eries o f s cenes, i n v iew o f t he l iterary a ssociation o f t wo o f t hem ( b , c ), p articularly s ince t he s pecific d emands o f a n a ccompanying t ext c ould e xplain t he e vident d ivergence f rom i conographic n orms . E ven s o , i t m ust r emain a p ossibility t hat t he f inal c ompilation o f i mages o n t he s arcophagus w as a ssembled j ust f or t hat o ne m onument ; i ndividual m otifs m ay s till h ave b een a bstracted f rom a ny o f t he p receding h ypothetical s ources. U ltimately , i n ad iscussion o f t he m edia t hrough w hich c ompositions m ay h ave b een t ransmitted , e nquiry c entring o n t hose d esigns w hich a ppear t o h ave b een most w idely c irculated i s l ikely t o b e o f a t l east e qual v alue t o s peculation a bout a s ingle u nique w ork . T aking a n o verview o f t he R oman c ycles , i t i s a pparent t hat a p unishment s cene w as c onsidered t he m ost i mportant s ingle c onstituent ( only I l acks t his), f ollowed b y t he c ontest ( absent f rom I I, I V, V I, V II, a nd X ), a nd t hen t he i nitial s cene w ith A thena ( omitted f rom I I , X XI) .

T his

p attern c orresponds

V ,

V I ,

V III ,

I X ,

X II ,

b roadly t o t he r elative f requency w ith

w hich t he s cenes o ccur a s i ndividual w orks .2 ° A nother p opular i ndividual s cene w as M arsyas w ith O lympos , b ut t his w as l argely r ejected a s a c yclic c omponent , p robably b ecause i t w as r egarded a s o nly p eripheral t o t he m ain t hrust o f t he v isual s tory , w hich e mphasises M arsyas ' h ubris a nd n emesis ; h is s kill a s a t eacher w as i rrelevant - t his w as i n a ny c ase l inked t o t he a lternative t radition t hat h e , a nd n ot A thena , i nvented t he f lutes .

8 1

We h ave s een h ow, r equired f or a c ycle ,

when a g reater n umber t han t hree e pisodes w ere t he i magery b ecame

i ncreasingly u nconventional ;

t he

r ange o f s cenes w as g enerally n ot e xtended u sing t he s tandard r epertoire o f m otifs,

s o t hat

s uggests

t hat

e xceeding f ormat ,

t he

i ndividual w orks

t here

w as

n o

w ere a ugmented i n d ifferent w ays .

c oherent

p rimary s equence o f

m ight

R oman

t hree

t radition

s cenes .

f or

E ven

T his

M arsyas

f or

t his

t here n ot h ave b een a n e xisting p re-Roman m odel?

c ycles l imited

T here i s

a mple e vidence f or v arious f orms o f n arrative a nd t hematic c ycle i n G reek , E truscan a nd e arly R oman a rt, f rom s ets o f c lassical metopes, t hrough E truscan a nd L atin t omb-painting a nd t he n arrative Z eus

f rom P ergamon ,

f riezes o f

t he A ltar o f

t o t he r elief d ecoration o f M egarian b owls ,

p robably c onnected w ith a ncient t extual

i llustration .2 1

w hich w as

N aturally,

t he

s imple f act t hat M arsyas e pisodes k nown f rom i ndependent works c an b e a ssembled t o c reate a n arrative s equence c annot b e t aken t o i mply t hat t he i mages w ere o riginally c onceived w ith t hat i ntention . S uch a n i mpression , h owever m isleading , i s l ikely t o b e i nevitable w hen a rtists h ave t urned f or i nspiration t o d ifferent p hases o f a s ingle w ell d efined d ramatic , l iterary o r mythological t radition . p re-Roman

I t s eems c lear t hat p articular f eatures o f t he

i conography w ere d eveloped a t v arying p eriods a nd

media .

B ut

M arsyas

w orks

i n a r ange o f

t here i s c onfirmation f rom t hree 4 th t o 2 nd c entury B .C . t hat

s ubsequently

t o

t heir o rigination a s

i solated

m otifs,

i ndividual s cenes w ere c ombined t o c reate l imited c yclic g roupings . A C aeretan o inochoe

( A77 ;

3 40-300

B .C .)

s hows

a nd a v ariant M arsyas-Athena s cene o n i ts n eck .

t he

c ontest

T he f act

o n i ts

b ody ,

t hat M arsyas i s

c haracterised d ifferently i n e ach s cene s uggests t hese w ere d rawn f rom t wo s eparate s ources, a nd t he p ainter 's s lightly c onfused p ortrayal o f t he M arsyas-Athena e pisode d iscloses t hat h e d id n ot f ully g rasp t he g ist o f t he s tory .

T hese d eficiencies i ndicate t he p ainter w as p robably n ot w orking t o

a d efinite - c yclic

model,

c onsecutive s equence . ( 3rd

b ut

h e d id

l east

s ucceed

i n p roducing

t o 2 nd c entury B . C . : .) o ffer d ifferent s elections o f e pisodes,

i n a c ontrasting m anner . h apazardly, O lympos Muses,

( f ig .

T he f igures o f A 78

s eparates

a s olitary

f luting

l ogical,

n or

i s

a ny

a lthough s ketchily e voked, f eatured ,

b ut

M arsyas .

r elative o rder

l andscape f rieze ;

I f r ead a s an arrative s equence , a ppropriate

c hapters

A pollo

6 0) ,

f rom

t he

t o

s ee

h istory

t he o f

t wo

t hrough t he d esign .

a gain M arsyas a nd O lympos a re s pied u pon b y

t he i mplication i s t hat M arsyas

a nd t hen t eaches O lympos ;

t wo

w ith

w ithin a c ontinuous,

t he s econd s cene s hows A thena w ith t he f lutes,

d iscovers A thena w ith t he f lutes, m ore

f rom

t he a rrangement i s n ot

s ignified

t rees d ivide u p t he s cenes o n A 79 ( fig .

p resented

A d uplicated M arsyas-

M arsyas

o ne o f whom h ands h im a v ictory wreath;

e ntirely

a

5 9) a re g rouped s omewhat

without a ny i ndication o f s etting .

m otif

R ocks a nd

i s

a t

T he r elief f riezes o f t wo H ellenistic b ronze v essels

s cenes

a s

f lute-playing ,

p endants,

g iven

t hat

b ut p erhaps i t

i llustrating b oth

M arsyas

t wo a nd

A thena w ere c redited w ith t he i nvention o f t he i nstrument, a nd M arsyas a nd O lympos w ith t he c reation o f i ts m usical r epertoire. 2 2 A dmittedly, t he a vailable e vidence f or t he c yclic t reatment o f t he M arsyas myth i n p re-Roman a rt m ay p resent a d istorted v iew , b ut t here i s n o b etter . P robably i t i s s ufficient t o a llow c ertain t entative i nferences . P re-Roman

M arsyas

c ycles

a ppear n ot

t o h ave

e xercised a s trong n arrative

l ine ; t he p unishment d oes n ot s eem t o h ave a ssumed t he a ll-important r ole i t was l ater t o a chieve, c omplete

c ycle ,

a nd

c overing

t here i s n o s ign t hat t here may h ave b een a

t he

s tory

f rom

t he

b egining

t o

i ts

f inal

s tage .

F inally , i t s eems t hat a M arsyas-Olympos s cene w ould b e ap robable c omponent o f a p re-Roman M arsyas c ycle , t his b eing a f eature c ommon t o t wo o f t he e nsembles. T he works t herefore d iverge s ignificantly f rom t he R oman

8 2

M arsyas w here

c ycles ,

w here a n arrative e lement

t he p unishment

w as

a m ore o r

l ess

w as

o ften a n i mportant a spect ,

e ssential

i ngredient,

a nd

w here

M arsyas w ith O lympos w as a r arity . T hus, w hile t here i s e vidence f or a p re-Roman c yclic t radition o f s ome k ind , t here i s n o p ositive i ndication t hat t his e ver b ecame a f actor i n t he d evelopment o f t he R oman M arsyas c ycles. T he e arlier R oman M arsyas c ycles

( I ,

I I ,

I II ,

I V ;

a ll

i st c entury A 01)

b ear t his o ut i n a nother w ay , f or t hey c onvey n o i mpression t hat t hey w ere w orking t o a r eady-made , o r i ndeed s hared , e xtended n arrative f ormula , e ven t hough t hree o f t hem ( II - I V ) r efer t o a c ommon b ound

M arsyas

p rototype .

T his p rototype w as i tself p robably a f airly r ecent R oman c reation i n a ny c ase , a nd i s u nlikely t o h ave b een c onnected w ith a m uch e arlier c yclic t radition . I nstead, t he v ariety o f e pisodes s elected r eveals a rtists r esorting a d h oc t o t he m ost e ffective s olution f or e ach n ew a pplication o f t he s ubject a nd s et o f c ircumstances . T here a re n o g rounds f or s upposing t hat I II, t he f irst c ycle k nown t o c ombine t he t hree c ardinal e pisodes ( Athena , c ontest , p unishment) i nto a l ogical s equence , w as n ot d evised o n t he s pot f or t he q uite e laborate d ecorative p rogramme i nto w hich i t w as i ncorporated . I t i s n ot a n o bvious p recursor f or t he main g roup o f s arcophagi ( XIII - X VI, X VIII - X X), b oth i n i ts a dherence t o t he b ound M arsyas t radition , a nd i n t he s ymbolic , a s o pposed t o s trictly n arrative , a ccount i t g ives o f t he f irst t wo e pisodes . T here i s l ittle c onsensus a mongst 2 nd c entury A .D . w orks l ike V a nd V III, a nd e ven t he e arliest s arcophagi ( IX - X I) f ail t o e xhibit a m ore u nified a pproach . E xperimentation o n s arcophagi X II a nd X III w ith t he c onfiguration o f s ome o f t he b asic e lements o f t he t hree-scene c ontinuous n arrative f ormula o f t he m ain b ody o f M arsyas s arcophagi , s uggests t hat t he f inal s tages o f i ts d evelopment w ere o nly t hen t aking p lace . T his p rocess w ould s eem t o e liminate t he l ikelihood o f ap re-existing c ontinous n arrative m odel f or t he f ormula . E ven i f t here w as n o e arlier c ontinuous n arrative c ycle , i t i s p ertinent t o c onsider w hether t here i s a ny e vidence t hat t he s ame s cenes m ay h ave b een c ombined p reviously i n a nother n arrative f ormat a nd a nother m edium , w hich t hen i nspired t he d evelopment u pon t he s arcophagi . T his m ight h ave b een a p ainted o r c arved c ycle, n ow l ost, o r ap icture-book p erhaps. I n t his r espect, X I i s o f o nly m arginal r elevance , w hatever i ts u ltimate s imply b ecause i t d eviates s o f ar f rom t he m ainstream i conography .

s ource ,

T he c learest i ndication o f t he e xistence o f a c yclic p rototype w ould b e i f a ny o f t he s cenes a s t hey a ppear o n t he s arcophagi w ere t o b e f ound i n c onjunction e lsewhere: n o s ingle p reserved w ork c an o ffer s uch a c ombination . H owever , t he p air o f w orks w hich i nitially e stablish t he e xistence o f as eparate e xtended p rototype c omposition f or b oth t he c ontest a nd h anging s cenes o f t he m ain g roup o f s arcophagi a re t hemselves q uite i ntimately r elated . T he G allo-Roman c eramic r elief m edallions 1 2 a nd 4 5 a re a nalogous c reations o f t he s ame p eriod ( late i st a nd e arly 2 nd c entury A .D .) ,

o riginating f rom t he s ame r egional p roduction c entre ,

b ut n ot ,

i t i s

t hought, t he w ork o f a s ingle p otter . 23 T hese a re i mportant f or t wo r easons : f irstly t hey d emonstrate t he w idespread c irculation o f t he t wo p rototype d esigns; a nd s econdly , s ince t he d esigns f irst c ome t o l ight t ogether w ithin t his s pecific c ontext , a nd t hen r e-appear i n c ombination o n t he e arliest s arcophagus t o f eature e ither o r b oth ( XII) , i t i s a p lausible i nference t hat t he d esigns e xisted, o r w ere c irculated, a s a n e nsemble r ather t han i ndependently . T he f act t hat X II , t he f irst s arcophagus t o

8 3

r egister t he i mpact o f t he t wo p rototypal d esigns, c ontains n o A thenaf luting

s cene

s uggests

t hat

t his

m ay

n ot

h ave

b een

p art

o f

t he

o riginal

e nsemble . S he h ad a ppeared o n t he e arlier s arcophagus X a s p art o f ac ycle w ith Marsyas b ound, i n a f igure-type c onnected w ith a n i nfluential i ndependent m odel ,

a nd i t m ay b e t hat X III a nd X V w itness t he a bsorption o f

t his s ame t ype i nto t he m atrix d efined b y X II.

-

T he m edallions m ay r ender s ome i nternal c lue t o t he f orm i n w hich t heir p rototypes w ere k nown t o t he R h8ne V alley a teliers i n t he L atin i nscriptions b oth c arry . O n 4 5, t he i nscriptions s erve o nly t o i dentify O lympos a nd t he S cythian , b ut o n 1 2 t here a ppears t he c omplete t ext o f a n e pigram d irected t o M arsyas , w hich d oes n ot c ome f rom a ny s urviving l iterary w ork ; i t s eems f easible t hat t he m odel f or 1 2, a nd b y i mplication f or 4 5 t oo , m ay h ave b een i ncluded i n a p icture-book c ollection o f m ythological s cenes a ccompanied b y a ppropriate e pigrams .2 4 I t m ay a lso h ave b een a s b ook-illustrations t hat t he R oman s arcophagus c arvers f irst e ncountered t he d esigns; a lthough o ccasional e arlier r eferences t o o ne o r o ther o f t he e xtended p rototypes o ccur i ndependently ,

n one r elates s o d irectly a s t he s arcophagi t o t he f orm

o f t he p rototypes r ecalled i n t he medallions. p rototypes d erive f rom a l ong i ndependent l ineage ,

While b oth o f t hese i ndividually t hey t ake

a ccount o f m ore r ecent , p robably R oman , d evelopments, a nd t herefore a ny c ompilation w hich i ncluded t hem m ust a lso h ave b een r ecent - a R oman r ather t han a G reek c reation . I n t he e nd, i t s eems t he c onstruction o f a n arrative c ycle f or M arsyas w as a R oman a chievement : a c oherent p rogramme a ssembled f rom d iverse s ources,

i n a s ense,

a microcosm o f t he R oman

c ollecting p henomenon . B ecause

i n

t heir

own

r ight

s ome

major p art o f a d ecorative s cheme, t hematic c ontext,

R oman

M arsyas

c ycles

c onstitute

t he

t hey c an o ften e stablish t heir own

a s w ith t he p ainted c ycle I I ,

a nd t he c yclic s arcophagi .

O ther M arsyas works, c yclic a nd i ndependent c ompositions, a re f ound i n c onjunction w ith r epresentations o f d ifferent m yths a nd o f q uasireligious m otifs . S ometimes s uch c ombinations r eveal a n i mplicit c onnection i n t heme o r c omposition ; t his c onnection may b e e xtended t o p roduce a n o verall t hematic p rogramme ; m ore u sually i t s imply e nhances t he i nterpretation o f c ertain i ndividual c ompositions t hrough t he s ignificant j uxtaposition o f r elated i mages ( pendants e ssentially) , w ithout b eing m aintained t hroughout a c oordinated s cheme . T he w ider l iterary a nd m aterial e vidence f or p rogrammatic p ainting h eg b een s urveyed q uite e xtensively , a nd t here i s n o n eed t o r ehearse i t h ere . E ven t hough t he M arsyas m yth w as i ntrinsically w ell-suited t o c onvey s ome m oral o r p hilosophical p oint , e mbodying t he n otion o f t he t riumph o f d ivine v irtues o ver u ncivilised h ubris,

t his p otential a ppears s eldom t o h ave b een

e xploited , a nd f ew o f t he p rogrammes w hich i nvolve s phere o f f unerary a rt a re e specially p rofound.

M arsyas

o utside

t he

T he m ost f requent c ompanion-pieces o f M arsyas c ompositions a re a ssorted B acchic a nd m ythological s cenes , i mages, w ithout a ny u nderlying c onstituting a ' programme ' . T wo

g iving a f airly a rbitrary s election o f p attern b eing d iscernible a nd h ardly o f t he m ore e rotic p ainted v ersions o f

M arsyas w ith O lympos w ere m atched w ith o ther c ouples :

7 5 w ith J upiter a nd

D anae, a nd a n u nidentified male p air ( perhpas l overs?); 7 9 w ith a s atyr e mbracing a m aenad . e quivalence

A m ore s ophisticated d ialectic b etween c ontrast

a nd

i s e vident i n t he a ssociation o f a m ore s ober M arsyas-Olympos

g rouping w ith C heiron a nd t he y oung A chilles o n t he w alls o f t he a t H erculaneum ( 80) ,

o n a n o scillum ( 83) ,

8 4

' Basilica '

a nd p robably a lso i n t he s tatues

r ecorded T his

b y P liny

l ast

t o h ave

b een e xhibited

i nstance h ighlights

i n t he V oting E nclosure a t R ome .

t he f act

t hat

t he

e xploitation o f

s uch

c onnective r elationships w as c ertainly n ot c onfined t o i nterior d ecoration . A t heme o f r ivalry o r c onflict a ppears t o g overn t he m ost c omprehensive d omestic p rogramme ,

t he p ainted s equence o f I II .

T his b rings t ogether t he

M arsyas s aga , w hich h ere b y p roxy i nvolves t he h umiliation o f A thena , w ho i s a llied w ith M arsyas i n t he d ecorative s cheme , V enus

a nd

t he

E vening

s tar .

T he

s ame

a nd t he c ompetition b etween

s ubject

a ccompanies

t he

M arsyas-

A pollo c ontest o f 9 ; t here m ay c onceivably b e s ome a strological s ignificance u nderlying t he c onflicts

r epresented .

O ther

t hematic

p arallels

a re

o bservable : t he c ombination o f M arsyas b ound a nd t he c aptive O restes o n t he p rovincial s arcophagus 3 7 , i n t he p ainting 3 4 a nd i ts c ompanion , a nd p erhaps a lso i n a nother p air o f p aintings, 3 3 a a nd b ; a nd t he j uxtaposition o f t he M arsyas c ycle I f rom P ompeii V 2 ,

9 -12 w ith a p ainting s howing t he f all o f

I carus , c ombining s imilarities o f l andscape s etting w ith t he t heme o f h ubris o r v aulting a mbition - e ven t he p erils o f i nvention . T he

M arsyas o f P hilostratus J unior ( Imagines,

p unished,

d oes

n ot

a ppear

t o

b e

l inked

2 ) ,

i n w hich M arsyas

i n a ny e xtended

i s

p rogrammatic

r elationship w ith t he o ther w orks a mongst w hich i t w as s upposedly d isplayed . A pollo f eatures a gain i n n o . g ives

a p ossible musical

H erakles

( rm .

1 4 w ith H yacinthus,

c onnection ;

a nd t he O rpheus o f n o .

t he d eath o f

1 6) m ight b e t hought a n a pt

p endant

N essus t o

t he

a t

6

t he h ands o f

M arsyas

p icture ,

b ut n o p arallel s urvives f or s uch a c onjunction .2 6 M arsyas s cenes a re a lso i ncluded a s a l esser e lement i n t wo e xtensive d ecorative s chemes w hich h ave b een t aken t o i llustrate c omplex p hilosophical o r a llegorical p rogrammes: t he s tucco-relief f rom t he h ypogeum a t P orta Maggiore ( IV), p erhaps a t omb , a nd a mosaic p avement f rom t he ' House o f A ion ' a t N ea P aphos

( 31) .27

A bove a ll ,

t he p rincipal

t hemes

o f

t he myth ,

t he victory o f A pollo and t he o rdeal o f d eath, c ulminating i n t ransfiguration , made i t a n i deal v ehicle f or a s ymbolic p rogramme u pon s arcophag i .28 B ut t his w as a s pecialised f unction a pplied t o l argely p ree xisting i conographic f ormulae , a nd w hen t he s ame i mages w ere e mployed d ecoratively o utside t he f unerary c ontext, t here i s l ittle e vidence t o s uggest t hat i ndividually , o r c ontained w ithin p rogrammes, t hey h eld a ny a rcane s ignificance. 2 9

a ll

b ut

t he

m ost

c omplex

Y et, while t he f igure o f a h anging M arsyas, a cting v irtually a s a t elamon o n a t able-support, m ay n ot make t he s ame s emantic r eferences a s a n i dentical f igure o n a s arcophagus, o r o n t he c ithara o f a c ult-statue o f A pollo, f ew i mages c an b e d ivorced f rom t heir i nherent o r a ccreted h istorical, f ormal a nd h ermeneutic a ssociations, a nd s o m ost a re s usceptible t o i nterpretation a t d ifferent l evels .

T he meaning o riginally i ntended i n

a ny a pplication o f t his i magery i s l ikely t o d epend a s much o n c ontext a s c ontent. P articularly i n t he c ontext o f a b ourgeois R oman-Campanian d omestic s etting , t hose a ssociations w hich a re e mphasised s eem m ost r elevant t o t he o vert d isplay c ultural a spirations .

o f

c onnoisseurship ,

8 5

a nd

a s uperficial

e xpression o f

L IST O F A BBREVIATIONS A bbreviations u sed i n t he T ext, N otes , C atalogue a nd A ppendices f ollow t hose l isted i n ' Notes f or C ontributors ', A JA 8 2 ( 1978) 3 -10 a nd 8 4 ( 1980) 3 -4 . T hey i nclude i n a ddition : A GDS

A ntike G emmen i n D eutschen S ammlungen , ( 1970) ,

3 ( 1972) ; I I

( 1969) ;

I II

A melung

W . Amelung and G . L ippold, V atikanischen M useums ( 1903-56).

B astet - D e V os

F .L .

B astet

a nd

M .

D e

V os,

( 1970) ; D ie

I ,

I V

1 ( 1968) ,

2

( 1975) .

S kulpturen

d es

I l t erzo s tile p ompeiano

( 1979). B eazley, E VP

J .D . B eazley, E truscan V ase-painting ( 1947).

B ieber, H

M . B ieber, T he S culpture o f t he H ellenistic A ge 2 ( 1961).

B lanckenhagen

P .H .

B rilliant

R . B rilliant, V isual N arratives - S torytelling i n E truscan a nd R oman A rt ( 1984) .

C arettoni

G . ç arettoni,

C lairmont

C .

v on B lanckenhagen , ' Daedalus a nd I carus o n P ompeian R ömMitt L XXV ( 1968) 1 06-143 , p ls . 2 7-47 .

B ullComm L XV ( 1937) 6 1-71,

C lairmont,

p aintings ',

' Studies

Y CS X V

i n G reek

( 1957)

p ls .

Ia nd I I .

Mythology a nd

V ase-

1 61-178 .

C urtius

L . C urtius, D ie W andmalerei P ompejis ( 1929).

D AIR

P refixes n egative f ile-number , D eutsches A rchäologisches I nstitut R om .

E lia

0 . E lla , P itture m urali e m osaici d el M useo N azionale d i N apoli ( 1932).

E spgrandieu

E .

E spgrandieu ,

R ecueil

g eneral

d es b as-reliefs d e l e

G aule r omaine ( 1907-1966) . F roning

H . F roning, D ithyrambos u nd V asenmalerei i n A then ( 1971).

F urtwängler, A G

A . F urtwängler, A ntike G emmen ( 1900).

F urtwängler, G SB

A .

F urtwängler,

B eschreibung d er g eschnittenen S teine

i n B erlin ( 1896) . G alli

F . G alli,

' Marsia', M emLinc X VI ( 1920), 3 -54.

G erhard, E S

E . G erhard, E truskische S piegel ( 1843-97).

H adaczek

K . H adaczek,

' Marsyas', 1 0 Jh X ( 1907), 3 15 f f.

8 6

H ead

B .V .

H ead,

C atalogue o f C oins

i n t he B ritish Museum,

P hrygia ( 1906) . H elbig, P

W .

H elbig,

Wandgemälde d er v om V esuv v erschütteten

S tädte C ampaniens ( 1868) . H errmannBruckmann P .

H errmann

a nd

F . B ruckmann ,

D enkmäler d er M alerei d es

A ltertums ( 1904-50) . H errmann , H G

A . H errmann , r unners ' ,

' Two H ellenistic G roups a nd t heir F ore-

A ntK X VIII

( 1975)

8 5-92 .

K och-Sichtermann

G . K och a nd H . S ichtermann , R ömische S arkophage ( 1982).

L each

E .W .

L each,

' Metamorphoses

C ampanian P ainting ' , 1 31-141. L IMC

R ömMitt

o f 8 8

t he ( 2)

A cteon

( 1981)

Myth

3 07-327 ,

L exicon I conographicum M ythologiae C lassicae ,

i n p ls .

I ( 1981) ;

I I ( 1984) . M atz-Duhn

F . M atz a nd F . D uhn ,

A ntike B ildwerke i n R om m it A ussch-

l uss d er g rösseren S ammlungen

( 1881-1882) .

M üller-Wieseler

0 . Müller a nd F . W ieseler, D enkmäler d er a lten K unst ( 1877).

P dE

L e p itture a ntiche d 'Ercolano e c ontorni ( Le a ntichita a ntichita d i E rcolano e sposte

I -V)

( 1757-79) .

P icard

C . P icard, M anuel d 'archeologie g reque ( from 1 935).

R einach, R P

S . R einach , R epertoire d e p eintures g reques e t r omaines ( 1922).

R einach , R Rel

S . R einach , R epertoire d e r eliefs g recs e t r omains ( 19091 2).

R einach, R S

S . R einach , R epertoire d e l a s tatuaire g reque e t r omaine ( 1887-1931).

R ichter, E GR

G .M .A . R ichter, E ngraved G ems o f t he R omans ( 1971).

R ichter, S G

G .M .A .

R ichter ,

( 4th e dn .

T he S culpture a nd S culptors o f t he G reeks

1 970).

R MB

G .B . F inati e t a l., R eal M useo B orbonico I -XVI ( 1824-57).

R obert, A SR I II

C . R obert,

D ie a ntiken S arkophagreliefs

( 1890-1966) ,

v ol .

I II, 2 . R obertson

M . R obertson , AH istory o f G reek A rt ( 1975).

R umpf

A . R umpf, M alerei u nd Z eichnung ( HdA 4 ,

S äflund

G .

S äflund ,

1 )

( 1953).

' The B elvedere T orso - a n I nterpretation ' ,

Q pusRom X I ( 1976) 6 3-84.

8 7

. S chauenburg, S chauenburg ( 1958) K

' Marsyas', R ömMitt L XV ( 1958) 4 2-66.

. S chauenburg , S chauenburg ( 1972) E

' Der b esorgte M arsyas ' , R ömMitt L XXIX

( 1972) 3 17-322. S chefold, W P

K . S chefold, D ie W ände P ompejis ( 1957).

S ichtermann , G rV

H . S ichtermann , G riechische V asen i n U nteritalien ( 1966).

S ichtermann-Koch

H .

S ichtermann

and

G .

Koch,

Mythen a uf r ömischen S arkophagen S mall

J .P . S mall ,

C acus a nd Marsyas

Griechische

( 197 9 .

i n E trusco-Roman L egend

( 1982). T rendall, L CS

A .D . T rendall, T he R ed-figured V ases o f L ucania , C apania a nd S icily ( 1967) .

W alters

H .B .

Walters,

G reek ,

C atalogue o f E ngraved G ems a nd C ameos,

R oman a nd E truscan , i n t he B ritish M useum'

W egner

M . W egner , D ie M usensarkophage ( ASR V , 3 ) ( 1966).

W eiss

A . W eiss,

' The M otif o f t he A dligatus a nd T ree ;

( 192 0 .

A s tudy

i n t he S ources o f P re-Roman I conography ', A JA 8 6 ( 1982) 2 1-38, p ls.

1 -3.

8 8

N OTES n otes 1 - 4

I ntroduction

1 .

p p. 1 -2

P liny 's c onfusion o f M arsyas a nd P an , p . 6 7f. ; H yginus, F abula 1 91 c onfuses t he m usical c ontest b etween M arsyas a nd A pollo w ith t hat b etween P an a nd A pollo ( cf . O vid, M etam . X I, 1 53) ; c onfusion o f M arsyas a nd P an i n a rt: R obertson a nd P fuhl - s ee a ppendix C 12; H errmann ,

H G ,

8 7 n ote 1 9 -s ee c at . n o . 8 2 .

P revious s tudies o n M arsyas :

A .T .F .

M ichaelis ,

D ie V erurtheilung

M arsyas ( 1984) ; G alli ; H adaczek ; J essen SO4 M arsyas , M yth . L ex . I I , 2 , c ols . 2 439 f f . ; B urckhardt, s .v . M arsyas, i n P auly-Wissowa, R ealE ncyclopädie X IV , c ols . 1 986 f f . W ith s pecial r eference t o v ase-painting : C lairmont ; a nd ( 1972); F roning ; W eiss.

2 .

P liny r ecords t wo s uch i mmigrant a rtists: p hilosopher M etrodorus ( NH X XXV , 1 35), a nd p ortraitist I aia o f C yzicus ( NH X XXV ,

1 47) .

S chauenburg ( 1958)

t he p ainter a nd t he n oted f emale

F or l iterary r eferences

t o t he t ransfer o f G reek a nd o ther a rt w orks i nto R oman h ands t hrough c ollecting a nd a s p lunder a ssociated w ith military a ctivity ( and e specially o n t he e xploits o f G aius V erres), s ee : J .J . P ollitt, T he A rt o f R ome c . 7 53B .C . - A .D . 3 37 : S ources a nd D ocuments 2 ( 1983) , p assim . 3 .

B ook

i llustration :

K .

W eitzmann ,

A ncient B ook I llustration

( 1959) ;

i d., I llustrations i n R oll a nd C odex 2 ( 1970). I llustrations o f P erseus a nd A ndromeda i n s pecialised a strological t exts : K . M . P hillips , ' P erseus a nd A ndromeda ' , MA 7 2 ( 1968) 1 -23 . P inakes a nd p attern b ooks: R obertson p . 5 75 . M odel b ooks: K . S chauenburg, J dI 8 5 ( 1970) 2 8 . S ketch-books: H . L auter-Bufe, Z ur s tilgeschichte d er f igürlichen p ompejanischen F resken ( 1969) . C artoons f or m osaics: K . D unbabin , ' The T riumph o f D ionysus o n M osaics f rom N orth A frica ', P BSR X XXIX ( 1971) 5 5. P icture-books : K . S chefold , ' Bilderbücher a ls V orlager r ömischer S arkophage ' , M elRome 8 8 .2 ( 1976) 7 59-797 . P laster-casts a nd metalwork : H . F roning, ' Die i konographische T radition d er K aiserzeitlichen m ythologischen S arkophagreliefs% J dI 9 5 ( 1980) 3 22-341 - i ncluding s urvey o f t ransmission s ources ,

p .

3 24

f f. 4 .

C f .

r eview o f L auter-Bufe ( supra n .3) b y B . F ehr ,

1 02-105.

8 9

G nomon X LIV ( 1972 .2)

C hapter 1

1 .

n otes 1 - 9

p p. 3 -7

F or c omprehensive l istings o f r eferences t o M arsyas i n t he w ork o f c lassical a uthors , s ee a rticles b y J essen a nd B urckhardt ( supra p . 9 0, n .

1 ).

I taliciced ( underlined) n umerals C atalogue :

i n t he t ext

A rabic t o i ndividual w orks ,

i n t he t ext p refixed b y A , B ,

r efer t o e ntries i n t he

R oman t o c yclic .

N umerals

o r Cr efer t o e ntries i n A ppendices A -C .

T ranslations h ave b een t aken w herever p ossible f rom L oeb e ditions. F or t he s ake o f c onsistency when d iscussing w orks f rom d ifferent p eriods, A thena

t he

f ollowing

( Minerva),

N ike

n ames

will

b e

u sed

t hroughout:

( Victoria/victory-figure) , H ermes ( Mercury ) ,

B acchus ( Dionysos) - e xcept w hen m aking d irect q uotation ,

o r r eferring

t o n amed m onuments . 2 .

O n t he o rigins o f t he c ult o f M arsyas, p erhaps i nvolving t he s acrifice o f a sses

t o A pollo :

S . R einach ,

' Marsyas ' ,

R A X IX ,

( 1912) 3 90-405 ;

M arsyas i s i ncluded i n a w ide-ranging s tudy o f m yths a nd b eliefs o f i mmortality b y W . Monna, R BPhil X XXIV ( 1956) 3 4 f f. H erodotus, b elow p .7. 3 .

T ranslation :

J .J .

P ollitt,

A rt a nd E xperience i n C lassical G reece

( 1972 p . 2 4. 4 .

O n t he i nnovations B .C .) i n P lutarch,

o f M elanippides : d e Mus . 1 141 D ;

P herekrates (NI. 4 30 's - 4 20 's a lso, a c haracter ' Music ' i n

P herekrates ' C heiron c laimed t o h ave s uffered a t t he h ands o f m odern c omposers: 5 .

A thenaeus, D eip. 3 64 A .

P lutarch : F ragm . T rag . G r .2 a desp . 3 81 ( Nauck) ; o r a ttributed b y T zetzes (NI. A .D . 110 - 180) i n h is C hiliades I , 3 72 t o S imonides o f C eos ( ca. 5 56 - 4 68 B .C .). S trabo: F ragm. T rag. G r. 2 n o.

6 .

P ausanias I , 2 4 , 1 : ( On t he A cropolis a t A thens) ' H ere t here i s a n A thene s triking M arsyas t he s ilenos f or p icking u p t he f lutes s he w anted t o t hrow a way'. P liny:

s ee p .

O n M elanippides :

1 7. J .

J HS 7 6 ( 1956) 1 8 f f .;

B oardman ,

E urope 1 93.

8 .

a s

a p ossible

T he t wenty a re:

s ection :

' Marsyas a nd M elanippides ' ,

F roning, 3 5 f f,; R obertson , 3 42 w ith n .

o n t he T ereus d edication :

7 .

1 085 ( Nauck).

R obertson ,

d edication

f or

2 86 w ith n . 2 32 ; A eschylus '

1 18 ;

a s tatue o f

C arians,

R obertson ,

A 11-20, A 30, A 33-36, A 39, A 41, A 80, A 83, A 84.

S uch i nscriptions o ccurring i n v ase-paintings c ommissioned t o m ark t he s uccessful s taging o f a p lay: T .B .L . I llustrations o f G reek D rama ( 1971) 4 -5 .

Webster

I n a ddition t o t he A ttic w orks c ited i n t he t ext ,

i n A .D . t he

T rendall,

I talian v ases

A 85 a nd A 86 c learly r elate t o d ramatic p erformances o f t he m yth. 9 .

O f

t he v ases d ealing w ith t he c ontest ,

o f t he o utcome : A 80 , A 83-86 .

A 11-23 , A 25-28 ;

9 0

1 7 d o n ot g ive a ny i ndication

t he r emaining 3 3 d o :

A 30-56 ,

A 77 ,

n otes 1 0 -2 2

C hapter 1 1 0.

S ee A 69 a nd p . 5 3 f f.

1.

O n T hamyras:

p p. 8 -12

R obertson , 2 70 w ith n .

1 99.

F urther o n O lympos a s M arsyas' p upil i n f lute-playing: P lato, L eg. I II, 6 77 D ; 1 2.

M armor P arium ,

1 9 f .

H ead, n os 4 3, 4 7, 4 9-51, 6 2, 6 4, 7 4, 7 5, 9 1-94, 1 47,

1 48,

1 470,

1 52-158;

1 479,

p ls. X a nd X I;

1 09,

1 26,

1 29,

1 30,

M . B ernhart, J fNG 1 ( 1949) n os .

1 481; B .V. H ead, H istoria N umorum 2 ( 1911) n o. 6 66.

1 3.

R obertson , 5 29.

1 4.

T he P hrygian c onnection : c f . P ausanias ( above , p .9) ; A puleius ( 1 ) . 1 4) , P hilostratus J unior ( 1 ) .15) ; a lso : 1 3; P ropertius,

I I, 3 0, 1 7;

O vid ( 1 ) . 1 3 f . ) , L ivy , X XXVIII ,

L ucan , P harsalia, I II, 2 06 .

P liny , N H

X VI , 2 40 : ' In t he r egion o f A ulocrene , t raversed b y t he r oute l eading f rom A pamea i nto P hrygia , t ravellers a re s hown t he p lane t ree f rom which Marsyas w as h ung a fter l osing h is match with A pollo . ' C f . a lso P hilostratus S enior , 1 5.

C f . p . 9 . l ocated

b elow p . 9 2 , n . 2 9 .

A ccording t o S tephanus B yzantinus , a t P essinus,

t he t omb o f M arsyas w as

t he o riginal c ult c entre o f C ybele :

S teph .

B yz .

s .v . P essinous . 1 6.

S uetonius,

A ug .

7 0 :

a ccount

o f

t he

c ena d odekatheos ;

t he

p lacing

o f

t he S ibylline b ooks i n t he T emple o f A pollo P alatinus: S uetonius, A ug

1 7.

3 1.

1 .

C f .

C .C .

V ermeule ,

G reek S culpture a nd R oman T aste

( 1977)

p assim

a nd

e specially o n ' copyism '. 1 8.

D iscussion a nd r eferences : S mall , 7 9 f f . w ith n otes 4 5 f f . S ee a lso : P . V eyne , ' Le M arsyas " Colonial" e t l 'independence d es c ites ; R evPhil X XXV ( 1961) 8 7 f f"

1 9.

w ith e xtensive r eference t o s ources .

F ull l ist o f c oinage a nd i nscriptions r elating t o t he F orum M arsyas : S mall, A ppendix I II, p p.

1 32-142.

P rostitution : S eneca, d e B eneficiis, V I, 3 2, 1 . B usiness a nd l itigation : M artial , E pig . I I , 6 4 , S atires, I , 6 , 2 0.

A s H erodotus, X enophon ; a bove, p . 7 .

2 1.

E truscan b ronze : a nd E truscan T here w as

.

H .B .

W alters,

A cron a d H orace ,

C atalogue o f t he B ronzes, G reek , R oman

i n t he B ritish M useum

a p opular

s aying

o f

s ome

( 1899) p .

a ntiquity ,

a skos ( wine-skin ) ' , a s i n A ristophanes , N ub . 4 42 , b y P hilostratus J unior ( Im .

6 6 . ' TO b e

f layed

f or a n

a nd g iven m uch l ater

2 ) a s t he p enalty Marsyas n ames

h iself. 2 2.

7 -8 ;

1 20-121.

T he c ena T rimalchionis: P etronius, S atyricon , 3 6.

9 1

f or

C hapter 1 2 3.

n otes 2 3- 2 9

p p. 1 216

F ull t ext o f C harax , a nd t ranslation i nto F rench : V eyne ( supra 1 6 1 8) 8 9 . T o t he l ist o f r epresentations o f t he M arsyas s tatue i n t he R oman F orum g iven i n S mall , A ppendix I II , p . 1 31, a dd t he G reco-Roman g em , B M W alters, n o. 1 566, h ere B 4.

2 4.

A s imilar p reoccupation i s r eflected i n t he n umerous R oman p unishment s cenes - t he p unishment w as o verwhelmingly t he most f requently d epicted e pisode : o f t he 2 0 R oman c yclic w orks w here i t p ossible t o t ell , a ll e xcept o ne f eature t he t erminal e pisode ; a mongst i ndividual w orks i t a ppears m ore o ften t han a ny o ther p hase o f t he s tory : c at . n os. 3 3-74, 9 2-95.

2 5.

Muse-sarcophagi:

W egner .

S mall

n umbers

o f

M uses

a ppear

q uite

f requently i n p re-Roman w orks; I a m t alking o f a s ufficient a ccumulation o f t hem t o j ustify t heir b eing c alled I le M uses ' a nd b eing t aken t o r epresent t heir g roup , r ather t han i ndividual, i dentity . B ut s ee c at. n o. 9 . 2 6 .

R obertson , 5 36 . F urther o n S cythians: E .H . M inns, S cythians a nd G reeks ( 1913) ; N L R ostovtzeff, I ranians a nd G reeks i n S outh R ussia

2 7.

C f. p . 8 9, n . 3 .

2 8 .

L each ; J .M . C roisille, P oesie e t a rt f igure d e N gron a ux F laviens . R gcherches s ur l 'iconographie e t l a c orrespondence d es a rts ä l 'gpoque i mpgriale . C oll . L atomus C LXXIX ( 1982) ; c f . r eviews: A . W allaceH adrill , ' U t p ictura p oesis? ' , J RS L XXIII ( 1983) 1 80-183 ; R .J . L ing , C R X XXV ( 1983) 2 94-296 .

2 9 .

I n t he I magines ( no . 2 0) o f P hilostratus S enior , M arsyas i s n otable o nly t hrough h is a bsence : ' The p lace i s K elainai . b ut M arsyas h as g one away . '

9 2

C hapter 2 1 .

n otes 1 - 1 2

p p. 1 7-20

MuM . A uktion ( 1980) 3 8, n o . 8 4; = L IMC I I,

1 , s .v . A thena , n o . 6 17,

p hoto: I I, 2 p . 7 64. 2 .

S ee p . 4 f.

3 .

R obertson , 3 41 w ith n ote 17.

4 .

P ausanias, I , 2 4, I .

5 .

7 . O n t he o rigins o f t he f igureC f . a lso m irror-engravings A 4 a nd A , ' Les p rototypes d u g roupe t ype o f t he M yronian M arsyas : W . Donna d 'Athgna e t d u M arsyas p ar M yron ', R A X XIV ( 1926) 1 88-209.

6 .

The M arsyas o f t he L ateran ', MAAR Q ueries r aised b y R . C arpenter, ' X VIII ( 1941) 5 18.

7 .

1 . ( a t

8 .

A thena s its h olding t he f lutes o n t wo R oman g lass p aste g ems: BM

e c ,3 t-1 )“ ,x -Xo c . eu

.s ee p . 5 .

W alters, n os . 2 776, 2 777; = L IMC I I, 1 , 1 105, n o . 4 22, p hoto : I I, 2 , p . 8 14 . A thena s tanding a nd f luting : s ee b elow , p . 9 4 n ote 2 0 . Ih ave n ot b een a ble t o a scertain w hether , i n v iew o f t he n umbering o f t he f lutes a mongst A thena 's i nventions b y O vid ( Fasti , V I , 6 96 f f" h ere p . 1 3) , s he a ppears w ith t he i nstruments i n t he d amaged f rieze o n t he e nclosure w all o f t he T emple o f M inerva i n t he F ormum T ransitorium , w here s he i s f eatured a s t he p atroness o f c raftsmen ( A .D . 8 1 -9 6). 9 .

S arcophagus f ragment X IVa n ow l acks t he f igure o f A thena , b ut t races o f t he s cene r emain ; s ee p . 2 3f. I n p ainting 1 t he f igure o f A thena i s i ndistinct , b ut h er l ocation o ver a p ool,- a nd t he r eaction o f M arsyas, i ndicate s he h eld t he i nstrument; s ee p age 1 9 f .

1 0.

B lanckenhagen , p assim e specially p .

1 47.

1.

B lanckenhagen , n os. 1 a nd 6 , p p. 1 07, 10. A c omparable p henomenon i s o bservable i n t he D iana-Acteon p aintings f rom P ompeii I X 7 , 1 6 ( late A ugustan) a nd I 9 , 5 ( ca . A .D . 3 5-45), L each , 3 12 f . n ote 2 6, n os. 1 8 a nd 1 . I n t he f irst, t he f igures a re i n a s cale r elative t o t heir s urroundings s imilar t o o ur n o . 1 , i n t he s econd t hey a re e ngulfed w ithin a v ast l andscape c omposition , w hich a lso i ncorporates c ontinuous n arrative. T he u nidentifiable a nd d amaged p ainting C 4 h as b een p roposed a s a p ossible v ariant o f I ; a D iana-Acteon c omposition i s p erhaps a lso a p ossible i nterpretation .

1 2.

T he

T unisian

A uthorities

h ave t wice r efused

t his w ork a vailable f or s tudy ( 1979 ,

t o m ake

i nformation o n

1 985) , a nd n o d etailed c omparison

h as b een p ossible. I a m i nformed t hat t he t heme o f M arsyas i n T unisian m osaics i s

t he

s ubject o f a s tudy b eing u ndertaken f or t he D irector G eneral o f t he I nstitut N ational d 'Archeologie e t d 'Art, T unis, M . M 'Hamed F antar.

9 3

C hapter 2

n otes 1 3 -2 4

p p. 2 1-25.

1 3.

A thens, N ational M useum 2 29; R obertson, p l.

1 4.

T he t wo g ems c ited a bove ,

P .

9 3 , n ote 8 ,

1 29 b .

s how A thena i n a c omparable

p ose , a nd m ay h ave b een d erived f rom t he s ame p rototype . H .

S ichtermann i n ' Göttlicher E nthusiasmus ' ,

i ndicates

t he A thena o f

t he

D omus

A urea

R ömMitt 8 6 ( 1979) 3 51 f f .

t ype

t o t he l eft e nd o f t hree ' c lipeus ' s arcophagi ,

( ' Soscorealeg)

a ppears

b alancing A pollo a t t he

r ight e nd, where h e i s r epresented i n t he f orm h e i s s hown a t t he c ontest o n Marsyas s arcophagi: p late 9 5, R ome, V atican Museums, Amelung, I , 9 10 n o . 2 40; p late 9 8, P alermo C athedral, V . T usa, I s arcophagi r omani i n S icilia ( 1957) 1 13 f f . n o . 5 0 ; p late 1 00 , P isa , C amposanto, P .E . A rias e t a l., C amposanto monumentale d i P isa . L e a ntichitä ( 1977) 1 26 f f . p i7- 6 4 . I t i s l ikely t he f igure-types a re d rawn f rom t he M arsyas s arcophagus r epertoire. S ichtermann s uggests a H ellenistic p rototype f or t he A thena f igure ( p . 3 64). 1 5.

S ee p . 9 1, n ote.

1 5.

1 6.

K .M .D .

D unbabin ,

T he M osaics o f R oman N orth A frica

1 0;

1 46. i d.

P .

( 1978)

p .

3 9

n ote

( supra p . 8 9 n ote 3 ) p . 6 1 f f.

1 7.

O n t he f ull-length f igure o f M arsyas, s ee p . 2 4.

1 8.

T he b ound M arsyas p ainting 3 3 a ( ca . A .D . 3 5 -4 5) d emonstrates t he u se o f m otifs n ot l ong a fter t hey a re k nown t o h ave b een c urrent i n R ome - c f. I V c ( ca. A .D . 2 5). S ee p . 4 6.

1 9.

I mpossible t o t ell o n 5 ( lost) , p . 2 2.

2 0.

F . M atz ,

X IV ( damaged) ;

p erhaps o n X III - s ee

G nomon X XXII ( 1960) 2 90 f . ( review) b elieved A 79 t o b e R oman

I mperial w ork ( contra A driani,

S chefold,

P icard - r eferences:

s ee

A ppendix) ; b ut t he s tanding f lute-blowing A thena i s a lien t o t he R oman i conography ;

s he a ppears

9 81,

=A GDS I V ,

N O .

2 61;

t hus o n a H ellenistic g em : H annover n o .

L IMC I I ,

1 ,

P .

1 27 .

T he Marsyas-Olympos s cene o f A 79 w as a lso o f a t ype n ot d irectly a dopted f or t he R oman t radition : s ee p . 7 0. 2 1.

B lanckenhagen ,

1 35

f . ;

L each .

B lanckenhagen

( 136 ,

n ote

6 1)

s ees

a

p ossible p recursor f or t he m otif i n a P an w ho w atches a w oman i n a g rotto o n a l ate 4 th c entury B .C . m irror: W . Z üchner, G riechische K lappspiegel ( 1942) p l. 2 1. 2 2.

L each ,

p l .

1 35 ;

p articularly t he p osition a nd s tance o f t he t wo m id-

g round A cteon f igures; t he l ocation o f r ocks, f eatures i s a lso s imilar. 2 3.

O vid, M etam. I II,

2 4.

I V a c ited a s A thena-Marsyas b y H . M ielsch , ( 1975) 19 ; a nd L IMC I I, 1 , 105 N O. 4 21.

t rees a nd a rchitectural

1 43-255, a fter C allimachus: L each, 3 10-312.

9 4

R ömische

S tuckreliefs

C hapter 2 2 5.

n ote 2 5

p . 2 6.

C f . l ate H ellenistic g em A 9, w here M arsyas s tands f luting b efore A thena .

9 5

n otes 1 - 1 2

C hapter 3 1 .

S ee p age 9 0 n ote 9 .

2 .

S ee p age 9 .

3 .

M arsyas

s eated

2 0 , A 22 , A 23 , A 38 , A 40 , A 41,

p p. 2 7-31

i n p re-Roman c ontest

s cenes :

A ll,

A l2(?) ,

A 28 ( variant) ; ( Marsyas d efeated) A 30 , A 45 - 5 0 , A 52 - 5 6 , A 80 a .

A 13 ,

A 31,

A l5 -

A 33 - 3 6 ,

4 .

F ig. 2 8.

5 .

A ll, A 27, A 42 ; c at . n os . 1 1, 1 2, 2 0, 2 1, V a , I X b , X II ( b) ( ?), X V b ( ?) ,

S ee b elow , p . 3 9.

X VIII

( ?) ,

X VIII b ( ?) ,

6 .

A 58, A 60, A 62, A 64.

7 .

M arsyas

a nd A pollo a re a t

X X 1 Z-

--

t he c entre o f

t he

c ontest s cene ,

b ut n ot

n ecessarily o f t he s arcophagus p anel a s aw hole; s ee p . 7 9. A pollo

i s a ccompanied b y h is G ryphon o n :

X IV - X VI,

X VIII - X X .

T here i s as upport f or h is c ithara o n X VI a nd X VIII . 8 .

T his t ype o f f chiastic ' a rrangement o f t he f igures was a f airly s tandard d evice o f t he s culptor 's s yntax , a pplied f or f igures i n c onflict ( cf . R obertson , 3 42), u sed t o g reat e ffect i n t he G reat F rieze o f t he A ltar o f Z eus a t P ergamon , a nd d eployed m ost n otably u pon t he w est p ediment o f t he P arthenon - a nd i n m odified f orm u pon t he e ast.

9 .

S he c annot b e aM use , a s o n X II s he i s p resent i n a ddition t o a ll n ine M uses , a nd o n t hose o ccasions w hen h er h ead i s p reserved ( XV , X VIII , X IX ) s he d oes n ot s hare t heir c haracteristic t wo-feathered h ead-dress . R obert, A SR I II , 2 42-267 s upposes L eto.

1 0 .

O n t he n umber o f M uses p resent ,

s ee p . 4 0 .

O f t he n ine M uses o n X II

( supra, n ote 9 ) s ix a re i n c ontest s cene, t he r emaining t hree d ispersed i nto t he a djoining d ivided p unishment s cene. O n t he d ivision o f t he Muses o n t he M arsyas s arcophagi s howing a j udgement i n f avour o f A pollo : 1.

1 2.

W egner ,

13 f f .

A rtemis : a bsent f rom X II , X V , a nd p robably a lso t o d amage o n X X . H ermes: p resent a s P sychopompos, o r p erhaps p horminx , a s tringed i nstrument, a nd h ence a o mitted f rom X V ; n ot v isible d ue t o d amage o n X IV S atyr c ompanions f or B acchus : X II , X VIII , X X ; n ot v isible d ue t o d amage o n X IV , X VI.

X IV ;

n ot v isible d ue

a s i nventor o f t he p artisan o f A pollo ; a nd X X .

a bsent f rom X V a nd X IX ;

A ttis: X VI a nd X IX . R iver d eity : X II. O lympos: X IV, X VIII, X X ( on b oundary b etween c ontest a nd p unishment).

9 6

n otes 1 3 -2 7

C hapter 3 1 3.

C f . a lso t he l ater 5 6 .

T he s ame c onnection h ad b een m ade e arlier o n

t he M antinean r elief A 24 , w ere

n ot

i ntegrated

p p.32-36

w here s ix M uses a ppear ,

i nto

a s ingle

b ut a gain t he M uses

c ompositional

e ntity

a long

w ith

M arsyas a nd A pollo ; s mall n umbers o f M uses o ccur i n m any p re-Roman c ontest s cenes i n v ase-painting. 1 4.

Z eus: A 29, A 32, A 37, A 45 ( all I talian). T ree b y M arsyas: A ll, A l2, A 13, A 16, A 22, A 29, A 31, A 41; R oman c ontest s cenes :

i n o ther

8 , 2 0 , 9 8 , X I c ; c f . W eiss, 2 7 f . o n t he c oncept

o f t he a rbor i nfelix. A thena b y M arsyas: A l2, A 34, A 37. V eiled g oddess: A 22, A 29 ( two), A 46 ( Cybele?), A 52 ( Hera). 1 5.

T .

D ohrn .

' Aspekte g rossgriechischer M alerei ' ,

R ömMitt L XXX ( 1973)

1 -

3 4. 1 6.

1 7.

A rtemis p resent i n o ther p re-Roman c ontest s cenes ( but n ot d irectly a longside A pollo a s o n A 29): A 18, A 32, A 45, A 48, A 51. I n c ontest

s cenes,

O lympos

s its

a t

t he

l eft

w ith a s taff

( A34)

a nd

s tands a t t he l eft w ith a s taff ( A47) ; i n M arsyas-Olympos s cenes A 73 7 5 O lympos s tands w ith a s taff. 1 8 .

M arsyas a lso s tands t o p lay b efore a s eated A pollo o n t he H ellenistic r elief v essel A 78, 3 rd c entury B .C.

1 9.

T he

f igures o f t he M antinean r elief a ppear t o b e d erived f rom t ypes

o riginally t o b e s een i n t he e ast p ediment C arpenter ,

' The

H esperia I I, 2 0.

l ost

S tatues

o f

o f

t he

P arthenon ;

c f .

R .

t he e ast P ediment o f t he P arthenon ' ,

1 ( 1933) 1 -88).

I nscription :

s ee

C atalogue .

O n i ts

i mplications c oncerning t he

t ransmission o f t he d esign f or s arcophagi, s ee p . 8 3. 2 1.

T he i nverted c ithara: s ee p .

1 4.

2 2.

S ee p . 5 4 a nd A ppendix A 69 f or r eferences.

2 3.

B acchus i s a t t he l eft o n : X II, X IV, X V, X VIII, X IX , X X . ( Not v isible d ue t o d amage o n X VI). F urther o n t he r e-organisation o f t he s cenes o n X III: p . 5 7.

2 4.

O ther d ivided p unishment s cenes:

2 5.

A s imilar ,

i f

l ess o rnate ,

I I, X , V III.

u rn i s s et b eneath t he c entral ' Arum ia ! o f

X III b ; i n v iew o f h er o ccasional r ole o f a djudicator a t t he c ontest, p erhaps a v oting u rn? S ee A puleius, F lorides n o. 3 , h ere p . 1 4. 2 6.

P edum,

a nd s ometimes a s yrinx b ehind M arsyas ' l egs a t

t he c ontest o n

s arcophagi: 2 0 ( pedum), X I c , X V b( pedum), X VI b , X VIII ( pedum?), X X b ( pedum). 2 7.

S ee p . 3 9 f .

T he s uspect r elief C 10 h as s ome a spects i n c ommon w ith

t he d esign o f X XI c .

9 7

n otes 2 8 -3 8

C hapter 3

p p. 3 7-40

2 8.

D iodorus S iculus, I II, 5 8 f f.; h ere p .

2 9.

M arsyas w ith a s pruce-garland : A 88 , 9a , 7 6 ; w ith a n i vy g arland : A 61, 1 5 ;

w ith a nother

X I d ie,

3 8 ( ?);

l eafy g arland :

A 44 ,

1 0.

A 60 ;

s ome

o ther g arland :

X I a ,

t he t ree b y which Marsyas s tands o n 2 0 i s a lso a

s pruce. 3 0.

F urther , o n t he a rrangement o f t he f igures o f V III , i n r elation t o i ts p unishment s cene, s ee p . 5 8.

3 1.

=S chauenburg ( 1972). I n o ne s ense , X VII c an b e s een t o b elong t o t his c ategory o f d efeated a nd d isconsolate f igures, b ut b ecause o f i ts a pparent d evelopment o ut o f

t he m otif o f t he s imple j uxtaposition o f t he t wo c ontestants,

h as b een i ntroduced a bove , 3 2.

P erhaps

a lso

a f igure o f

p .

t ype 2 8 o n a d enarius

P . P etronius T urpilianus) : E .C . c hronologique d e m onnaies d e

3 3.

1 7.

T he

A 3 0 ,

s ixteen A 4 3 ,

v ase-paintings A 4 5- 4 8 ,A 5 0 ,

o f A ugustus

( 20 B .C . ;

B abelon , D escription h istorique e t l a R gpublique r omaine ( monnaies

c onsulaires) ( 1885/6) I I 3 00 n o.

A 4 1,

i t

2 9 f .

a re :

A 3 1,

A 3 3 ,

A 3 4 ,

A 3 8,

A 4 0 ,

A 5 2 - 5 4 .

A pollo r eceives a t oken o f v ictory i n a ll e xcept: A 3 8, A 4 3, A 5 4. 3 4.

B erlin S K 1 281 ( E 5 1) C hiusi: g riechischen H eldensage ( 1971-76)

F . B rommer, I II , 3 27 n o .

D enkmälerlisten z ur 5 ; S mall , 5 8 f f . a nd

f ig. 7 . 3 5.

2 9 aa nd b s how M arsyas w ith t he f lutes a nd s yrinx ; w ith t he s yrinx a s w ell a s t he f lutes,

3 6 .

s ee p . 1 06 ,

o n h is c onnection n ote 7 .

W hile t he p ose o f M arsyas i s v aried o n A 32 a nd A 44 , t he d elicate p oise o f h is r ight h and b efore h is mouth ( holding a f lute o n A 44) i s a d istinctive c ommon f actor ,

w hich m ight s uggest t he a daptation o f e ach

f rom s ome s ingle i ndependent f igure-type. 3 7.

T he n ymph ( or ' Muse ') r ecurs i n t he c onfused a ssemblage o f f igures o n s arcophagus X XI ;

o n t he b asis o f t his s arcophagus, R obert p roposed a

H ellenistic g roup o f A pollo ,

M arsyas

f luting

a nd

t he

' Muse '

( = A SR

I II n o . 1 98) - R obert, 2 47f . R eferring t o t he s ame s arcophagus, L ippold ( see A ppendix A 88) s uggests ag roup o f A pollo ,

t he ' Muse ' ,

t ogether w ith t he M arsyas o f A 88 ;

t he

g roup, t herefore, n ot b eing r eflected d irectly i n t he s arcophagus. 3 8.

F urther o n t he c hronological p rogression i n t his g roup o f s arcophagi : s ee p . 7 9.

9 8

n otes 1 - 1

C hapter 4 1 .

p p. 4 1-44

W hilst h is t utoring o f O lympos i s c learly a n i ncident f rom t he l ife o f M arsyas , i t d oes n ot h ave a f ixed p lace i n r elation t o t he s equence d ealing w ith h is r ise a nd f all; i t d oes n ot a ppear w ithin t he f ramework o f c onsecutive e pisodes f urnished b y t he R oman c yclic w orks . O nly m osaic V I ag ives a M arsyas-Olympos s cene f urther e pisode ( hanging M arsyas) , a nd t here i s d irect c hronological c onnection . S o a s n ot t o a nd t hematic c ontinuity b etween t he c ontest M arsyas-Olympos s cenes a re d iscussed l ater ,

2 .

i n c ombination w ith a n o i mplicit c ausal o r d isrupt t he n arrative a nd p unishment, t he

i n C hapter 6 .

H oby c up: C openhagen , N ationalmuseet; B . A ndreae, T he A rt o f R ome ( 1978) 1 2, p l. 7 . S imilar p leading B arbarian o n a s ilver g oblet f rom B oscoreale, R othschild c ollection , c a . A .D . 1 0 -2 0 ; A ndreae , 3 81, f igs . 2 99-301; t he motif r ecurs o n s arcophagi: s arcophagus c a . A .D . 1 80, Musei V atincani, C ortile d el B elvedere ; A ndreae, 4 32, f ig. 5 01.

3 .

T he i ncident i s a lso r eferred t o i n P hilostratus, V ita A poll. 6 , 2 7. C ertain l ater R oman m ythographers r ecord a v ersion o f t he c ontest i n w hich M idas a djudicates , a p robable c onflation w ith t he a nalogous c ompetition b etween P an a nd A pollo ; r eferences ,

s ee p .

8 9 n ote

1 ;

m ythological

J essen ( supra p . 8 9 n ote 1 ) c ol . 2 443 .

4 .

S chefold ( supra p . 8 9 n ote 3 ) 7 79.

5 .

T he b ound ( supra p . N az . n os . c ompanion

6 .

R obertson , 4 41 f .

7 .

V atican ,

O restes o n m etalwork , s arcophagi a nd o ther r eliefs : F roning 8 9 n ote 3 ) 3 34-338 . E xamples i n w allpainting : N aples , M us . 9 111 ( Pompeii), 1 11439 ( Pompeii) ; 9 538 ( Herculaneum) i s t o t he b ound M arsyas 3 4 .

L ateran Museum ;

R .B .

B andinelli , R ome t he C entre o f P ower

( 1970) 2 76, p l. 3 11. 8 .

R eports o f t he D epartment o f A ntiquities, C yprus ( 1984) 3 05; t he p rincipal p anel , f or e xample , s hows t he c oronation o f C assiopeia b y K risis ( personification o f j udgement) , a fter a b eauty c ontest w ith t he N ereids , i n t he p resence o f Mon ( time e ternal) a nd K airos ( the h appy m oment).

9 .

3 4 ( bound), V I b ( hanging ; a dapted a s N ike?) ; o n t he s eparate o ccurrence o f as imilar A pollo-female p ersonification s chema , w ithout O lympos , a s a s ubsidiary s cene i n p unishment-related c ycles, s ee p . 7 6.

1 0 .

O lympos s tands g rieving i n t he h anging s cene 5 2 ;

h e o nly s tands w ith

t he f lutes i n f ull e astern d ress i n t he M arsyas-Olumpos s cene V I a . 1.

A gainst t ravelling m osaicists, D unbabin ( supra p . 8 9 n ote 3 ) 5 5.

9 9

C hapter 4 1 2.

n otes 1 2 -2 4

p p. 4 4-48

Z euxis, o riginally f rom H eraclea ( South I taly) i s t hought t o h ave w orked p rincipally a t A thens , a lthough h e m ay h ave s pent s ome t ime i n M acedonia :

R obertson ,

4 11

f .

O n

t he

M arsyas r eligatus

o f

Z euxis :

G alli , 4 0 f 4 S chauenburg ( 1958) 6 2 , w ith e xtensive r ange o f e arlier r eferences , n ote 1 50 ; S äfland , 7 3 f f" w ith f urther r eferences i n n ote 5 0 ; T . D ohrn , D ie F icoronische C ista ( 1972) 1 5; W eiss, 2 3f. 1 3.

W eiss, 2 3 f .

1 4.

A 61 a nd A 63 a re r elegated b y W eiss t o n ote 1 7 ( p . 2 4) a nd o mitted f rom t he a ccompanying l ist o f a dligatus m onuments ; t hey d o n ot r epresent a dligati i n t he s ense o f b eing c learly b ound t o at ree, b ut t heir o mission f rom a ny a nalysis p ertaining t o Z euxis ' w ork , a nd t heir r elevance f or t he a ppearance o f l ater s eated a dligati, d istorted p icture.

c reates a

1 5.

R eferences : s ee A ppendix A 82 . S eated M arsyas w ith s kin t urned o ver t high : 8 0 , 8 1, 8 7 , 8 8 ( ?) ; a nd t he g em 4 3 , m entioned i n t he t ext ; 7 8 ( skin o r r obe), 7 5 ( robe); I V a ( ? r obe).

1 6.

R obertson , 5 57 a nd n ote 1 39 ( Aphrodite) ; 5 84 a nd n ote 2 23 ( painting a nticipating s culpture ) . E xamples o f H ellenistic s culptures b ased o n p ainting: H errmann , H G 8 5 n ote 1 .

1 7.

S ee p ossible c onflation w ith O restes , t he b ound f igure b eing s eated : C atalogue n o. 3 3 b ; s uspect p ainting, A ppendix C ll.

1 8.

B esides t he g em 4 3 , t he s tanding A pollo w ith a b ound M arsyas i s o nly k nown f rom p rovincial r elief 3 7 ; p erhaps l ost r elief 4 0 . C f . S uspect p ainting C ll.

1 9.

W eiss, p assim, e specially p . 2 9 f f . I t i s c lear f rom A 60 t hat a n i ndependent i conographic p attern f or t he s tanding b ound M arsyas w as e stablished b y t he 3 rd q uarter o f t he 4 th c entury B .C . C f . a lso A 64 , A 65.

2 0 .

A s tanding S cythian a lso a ppears o n A 57, b ut i n av aried p ose.

2 1.

A 57 ( Marsyas p leading a nd b ound), A 59 - 6 1, A 64, A 66 . T he b ound A mykos i s l ocated n ear t he c entre o f t he e xtended f rieze o f t he c ista F icoroni ; c f. D ohrn ( supra p . 9 9 n ote 1 2).

2 2.

I n I II b , a nd i n I I c , p endant s cene t o t he d ivided p unishment I I a /b . O n t he P ergamene A pollo, s ee p . 1 07.

2 3.

M arsyas f aces t o t he l eft , t owards t he S cythian i n I I a ; h e f aces t o t he l eft, t owards A pollo i n t he d ispersed p unishment s cheme I II b , a lthough t hree o f t he m any s upplementary f igures a ppear f urther t o t he r ight; h e i s a t t he r ight i n 3 5, 4 4 a -c a nd V b .

2 4.

F lutes d iscarded o n t he g round o r l eaning a gainst a t ree ( as o pposed t o h anging f rom t he t ree ) i n p ost-contest s cenes : 3 2, 3 4, 3 5, 5 3, 5 8, 7 3, I I a , V I b , X II a . P hilostratus J unior I m . 2 , h ere p . 1 5.

1 00

2 8 a -c , 2 9 a -d , 3 1 , P erhaps a lso i n

n otes 2 5 -3 3

C hapter 4

p p. 4 8-52

2 5.

F urther o n t he d isposition o f t he p anels i n t he c ycle I I, s ee p . 7 9f.

2 6.

O n t he c yclic a rrangement o f I II, s ee p . 7 8 f . w ith n ote 1.

2 7.

C f . t he r elief f ragment 5 7 f rom a p unishment s cene .

( 3rd c entury A . I1?) , b elieved t o h ave c ome I t s hows A pollo ( seated) a nd a r eclining

n ymph , a nd m ay h ave b elonged t o a b ound M arsyas c omposition l ike V b o r X b /c, r ather t han a h anging Marsyas s cene, a lthough i t i s i mpossible t o b e c ertain . 2 8 .

O n A pollo 's r aven , s ee O vid, M etam, I I, 5 50 f f . T he f lute-case h angs i n t he t ree o n A 60 a nd A 64 , a s w ell a s o n t he g em 4 3 , c onnected a bove ( p. 4 4 f .) w ith t he p re-Roman t radition .

2 9.

F lutes s uspended f rom t he t ree o n w hich M arsyas h angs :

4 9 ,

5 2 ,

6 0 g ,

6 4, 9 4. 3 0.

C f . t he p ainting 3 4 , w here M arsyas w ears a n ebris w hich t rails o nly f rom o ne e lbow , a nd h angs d own a longside t he t ree-trunk t o w hich h e i s b ound.

3 1.

I n t he m osaic 3 5 , t he i dentification o f t he s eated f igure n ear M arsyas a s A pollo i s n ot e ntirely s ecure ; a lthough h e h olds a p alm b ranch , a t oken o f v ictory , h e w ears a P hrygian c ap - t he u sual a ttribute o f O lympos; p erhaps a c onflation o f i dentity w ith O rpheus.

3 2.

A pollo s tanding i n s arcophagus e nd p anel h anging M arsyas s cenes : 5 8 . O n 4 0, R obert, A SR I II ,

3 3.

T he

motif

o f

t he

5 5 ,

( no. 2 13) p . 2 66.

c aptive

b ound

t o

a t ree

was

a v ery

w idely

d isseminated o ne : c f . r elief f rom a c renelle o f t he T rajan m onument a t A damklissi , c a . A .D . 1 09 ( Adamklissi M useum) ; R .B . B andinelli , R ome : t he l ate E mpire ( 1971) 3 12, f ig. 2 92. S ee a lso A ppendix C 5 aa nd b .

1 01

C hapter 5 1 .

N otes 1 - 1

p p. 5 3-55

R eferences f or t he P ergamene g roup, s ee A ppendix A 69. T he m otif o f t he h anging M arsyas i s u nknown f rom v ase-painting , w here t he b ound M arsyas t radition a ppears t o h ave b een p revalent.

2 .

A ttempts t o s eparate ' red ' a nd white t ypes o f h anging M arsyas s tylistically : S chober , 7 6; L ippold, 3 21 n ote 1 7 ( references: s ee A ppendix A 69); R . F leischer, 0 JhBeibl L ( 1972/75) 16.

3 .

R obertson , 5 29 f .; 5 36: r ed v ersion - b ronze o riginal.

4 .

W here v isible : 4 5 ( ? d amaged) , 4 6 , 4 9 , 5 0 , 5 2 , 5 5 , 5 6 , 5 8 , 6 0 ba nd h , 6 1 ( not a lways d iscernible o n g ems 6 2 -7 1) , 7 3 , 7 4 , 9 2 , 9 4 , 9 5 , V I V III a ,

I X a ,

X I f ,

X II c ( ?),

X III c , X VI c , X V c , X IX c , X X c ,

X XI c . 5 .

M arsyas a gainst a s pray o f f oliage: 4 6, 4 8, 6 0 c , 6 1, 9 5, V III, X IX c .

6 .

B owed t ree : 4 5 , 4 9 , 5 0 , 5 2 , 6 2 -6 4 , 6 6 -7 0 , 7 3 , I X a , X I f . t hat o n t he g em 6 5, M arsyas h angs f rom a s traight t ree. -

7 .

B oth r eliefs 4 9 a nd 5 2 ,

w ith t heir P ergamene l inks ,

f lutes t ied t o t he t runk o f t he t ree ( cf .

p .

N ote

f eature M arsyas '

1 01 n ote 2 9) .

T his m ay

c onceivably h ave b een a d etail o f t he P ergamene o riginal. 8 . 9 .

S ame f igure, w ithout t he b owed t ree: V I b . I t i s w orth n oting t hat c onventionally , a nd l ogically e nough ,

A pollo

w as p ortrayed w ith h is i nstrument h eld i n h is l eft h and o r s et n earby a t h is l eft s ide , l eaving h is r ight h and f ree t o p lay o r m ake s ome g esture . S o f ar , s o g ood ; b ut i f A pollo w as t o b e s hown s eated a nd v iewed i n r ight p rofile i n r elief o r a nother s ingle-viewpoint m edium , t he i nstrument n eeded t o b e s upported o n h is l ap n ot t o b e o bscured ; i f A pollo w as t o a ppear i n l eft p rofile , t o a void a wkwardness , t he i nstrument w as b etter p laced o n t he g round , o r l ocated a t A pollo 's l eft s ide , o ften r esting o n s ome k ind o f s upport .

T hus t he p osition

o f t he i nstrument - o r t he s chema c hosen t o r epresent t he g od - w as m ore l ikely t o b e d ependent u pon t he d irection A pollo w as t o f ace w ithin a g iven s cene t han o n t he p recise c onfiguration o f a ny p resumed model . T here a re f ew e xceptions t o t his p rinciple ( 34, V b -d) . L argely t he i ntaglio g emstones f ollow t he s ame p rinciple , w ith t he i mpression ( positive) p reserving t he f ormula . 1 0 .

E ven i f t he A pollo t ype w as c onceived f or , o r w as f irst g iven m ajor p rominence i n , t he P ergamene g roup , i t w as s ubsequently a bsorbed i nto t he m ore g eneral r epertoire o f A pollo t ypes a nd u sed q uite w idely i n w orks u nconnected w ith t he M arsyas s tory .

1.

P hilostratus J unior , s ee p . 1 5 . t he h anging M arsyas: 5 1, 6 4, 7 3.

1 02

T he k nife-grinder f aces a way f rom

C hapter 5 1 2.

n otes 1 2 -2 4

p p. 5 5-60

T he k nife-grinder l ooks b ack o ver h is s houlder a t M arsyas : 5 6 , 7 0 , X VIII c ; h e l ooks b ack o ver h is s houlder t o A pollo i n a b ound M arsyas s cene ( 37) a nd , i n av ariation o f t he s tandard p ose , i n 7 4 . T he k nife-grinder f rom t he s arcophagus f ragment 5 4 m ost c losely r esembles h is e quivalent o n X VI c a nd 5 5 ( earlier 3 rd c entury A .D . t o A .D .

2 30 - 2 40) i n t erms o f p ose a nd c ostume .

1 3.

S ee b elow , p . 6 5.

1 4.

4 9 , 5 6 , 6 3 , 6 4 , 7 3 , V II ; t he s ame t hree f igures , w ith A pollo s tanding : 5 8 .

1 5.

T he r estraining f igure ,

p art o f t he s tatue-group ,

t he ' Farnese B ull ' ,

a fter t hat o f A pollonios a nd T auriskos o f T ralles ( Robertson ,

6 08 n ote

4 8), M us.Naz. N aples. O ther p ossible s ources f or t he c oncept : a n o riginal r einterpretation o f t he a ction o f t he f igure who t ightens t he b onds o f t he c aptive A mykos , a lthough t he l atest s urviving R oman e xamples o f t his s ubject d ate f rom t he R epublic ( cf . W eiss) ; t he a ctions o f m ilitary p ersonnel r aising a t rophy , a s o n t he G emma A ugustea , V ienna , K unsthistorisches M useum , A ndreae ( supra p . 9 9 n ote 2 ) 3 82, f ig. 3 17. 1 6.

S arcophagi

w ith

a f lat

f ront

p anel:

X II,

X III,

X V,

X XI . L enos

s arcophagi: X VI, X VIII, X IX , X X . 1 7.

T he

p resence

o f

N ike

p erhaps

s uggested

p ersonification s chema - s he h old a g arland

b y

t he

A pollo-female

f or A pollo i n 3 4

( bound

M arsyas). N ike w as a f requent p articipant i n p re-Roman c ontest a nd p unishment s cenes , b ut t here i s n o i ndication o f a ny d irect l ink b etween t hese a nd h er l ater a ppearance. 1 8 .

T he u pright r idges - t he t hrone-back - r ecur w hen t he u sed i n i solation o n t erra s igillata : 4 5 M a nd N ; V ertet, ' Medaillons d 'applique ä s ujets r gligieux R h8ne e t d e l 'Allier ', G allia 3 0 ( 1972) 2 42, f igs. 6 a

1 9.

T he

S cythian f lays

M arsyas '

A pollo f igure i s A . A udin a nd H . d es v allges d u a nd b .

l eg o n g em 6 1 a nd l ost r elief 5 8 .

T he

c rouching S cythian o f X II i s i n f ull e astern d ress ; a s i ndicated a bove ( p . 5 5) h is c ostume a ppears t o b e a ltered a t w ill . Two l ater s arcophagi ( XV a nd X XI ) r evert t o s howing h im a s m ore o r l ess n aked . 2 0.

O n t he f lutes: p . 1 93 n ote 2 4 ; p . 1 00 n ote 2 9.

2 1.

O n t he d evelopment o f a lso p . 3 5 f .

2 2.

T he

r ope-pulling

t he c ombined c ontest-punishment

e xecutioner

b races

o ne

l eg

a gainst

o n X III ,

t he

t ree

s ee

u pon

s arcophagi 5 5 , X VI a nd X X ; p erhaps u se o f t he p ose h ere m ay r eflect s ome k nowledge o f t his d evelopment o n s arcophagi. 2 3.

T his f igure a lso c alls t o mind t he Muse o r p ersonification o f 3 4 ( bound M arsyas), s tanding b y A poolo w ith a g arland h eld i n h er h ands.

2 4.

As imilar f igure o f O lympos r eclines i n t he f oreground o f t he c ontest s cene o f 1; s ee p . 3 2 f .

1 03

n otes 2 5 -3 5

C hapter 5 2 5.

p p. 6 0-63

N ymphs a ppear e arlier i n t he b ound M arsyas t radition : Vb , X b /c . T he r elief f ragment 5 7 , w ith A pollo a nd a n ymph , a nd t hought t o h ave b elonged t o a p unishment s cene , m ay d erive f rom a h anging M arsyas c omposition , a lthough i t s hares l ittle i n c ommon w ith t hose o ther h anging s cenes t o f eature a n ymph o r r iver d eity : a lternatively , i t m ay b e f rom a b ound M arsyas s cene ; 2 7.

2 6.

C f . X IV c ; af ragment o f ab earded r iver-deity , w ith s ea-serpant c oils ( ?) . I t h as b een l inked w ith s arcophagus X IV w here i t c ould o nly h ave f ormed p art o f t he h anging s cene ; a lien f ragment.

2 7.

X VIII a nd X IX . s ee p . 1 01 n ote

h owever ,

i t a ppears t o b e a n

T here i s a s mall c ouchant g oat b y M arsyas ' f eet i n 5 5 b ; t races o f a s imilar c reature s urvive a bove t he r ope-puller o f X VI c - a m inor d ecorative m otif , w hich n onetheless u nderlines t he i mpression t hat t he t wo s cenes a re i n m any r espects c losely r elated.

2 8 .

T he d rapery-style o f t he f igure, d escending N ike 's c hest ,

n otably t he t win s inuous f olds

s uggests a s elf-conscious

c lassicism ,

a lien

c ertainly t o t he s arcophagus r epertoire , t o w hich t he d esign o therwise r elates. 2 9. 3 0 .

C f. X XI b . ' Jason ' ,

a s

i n t he c opy f rom H adrian 's v illa a t T ivoli ,

N y C arlsberg

G lyptotek 2 798 , R obertson , p l. 1 63b . P erseus a nd A ndromeda: R einach R P 2 05, 1 , 2 , 5 , 6 , 7 ; A rgus a nd I o: R einach, R P 1 5, 4 , 6 , 8 ; 1 6 , 2 , 3 . T he v ariant r ope-puller , w ith o ne l eg s et u p t o b race h is a ction ( see p . 1 03 n ote 2 2) o nly b egan t o a ppear o n s arcophagi f rom a round t he e arly 3 rd c entury A .D . , p robably r ather t oo l ate t o h ave i nfluenced t he c arver o f 5 2 , u nless t he r elief i s t o b e a ssigned t o t he v ery e nd o f t he 2 nd c entury A .D . o r e arly i n t he 3 rd c entury . 3 1.

S ee p p . 5 6 a nd 5 7.

3 2.

A ny r econstruction o f C 10 , f irst r ecorded i n a 1 7th c entury d rawing , c annot h ave b een b ased o n X XI i tself, d iscovered i n 1 853.

3 3.

D . S trong, R oman A rt ( 1976) 9 1.

3 4 .

A s imilar p linth o r p latform w as u sed t o g ain e xtra h eight f or t he k nife-grinder d ecorating t he c ithara o f t he A pollo f rom B ulla R egia ( 95 ; c a . A .D . 2 02). T he n ebris w as t raditional g arb f or M arsyas , w orn b y h im i n n umerous p re-Roman a nd R oman s cenes o f t he c ontest a nd i ts i mmediate a ftermath . N ebris w orn b y ah anging M arsyas: 4 8, V I b .

3 5.

S hrine o r s anctuary s etting : 3 3 a , 3 9 ( ?), 4 9, 7 4, I V c , V c ; s ee a lso t he A ttic c alyx c rater f rom A l M ina A 61 ( bound M arsyas) , w here t here a re f ive t ripods.

1 04

n otes 3 6 -3 9

C hapter 5 3 6.

p p. 6 3-66

O f t he s ame b asic l ay-out a s t he g em 6 3 i s a ' late H ellenistic ' g em A 71;

o verall ,

t echnically a nd s tylistically i t

t he o ther g ems ;

i ndividually ,

i s a t v ariance w ith

t he f rontal A pollo a nd t he a ppearance

o f t he S cythian a re a nomalous: p erhaps a p astiche . G . P esce, R ivIstArch V ( 1935/6) 6 4 f . l ists a n umber o f m odern c opies o f M arsyas h anging o n g ems . 3 7.

R obert, A SR I II , 2 66 n o. 2 12 1-

3 8 .

A lso i n t he d rawing , ad iscarded f lute , a bsent f rom 5 5b b ut f ound i n a n umber o f o ther h anging s cenes: 5 3, 7 3, V I b , X II a .

3 9.

P ossible

r ole

o f

b ook

i llustration

M arsyas s cenes 4 5 a nd X II a /c: p . 8 4.

1 05

i n

t he

t ransmission o f h anging

C hapter 6

n otes 1 -8

p p.

1 .

P ausanias, X , 3 0, 9 ;

2 .

H errmann , t he

H G :

6 7-70

s ee p . 8 .

n ot a d iscussion o f t he V oting E nclosure s tatues ,

P an-Daphnis

g roup a nd

N iobe .

a nd t he V oting E nclosure s tatues : B ieber , H 1 87 . 3 .

R obertson ,

b ut

g roup

5 56 w ith n ote 1 38 ;

5 84 ;

T he f igures i n p ainting C 12 h ave h itherto b een m istakenly b elieved t o r epresent A ppendix.

4 .

F urther o n t he P an-Daphnis

Marsyas

a nd

O lympos

w ith

C heiron

a nd

A chilles;

s ee

T he H eraculanean C heiron g roup : N aples , M us . N az . n o . 9 019 ; E lia n o . 2 5 , f ig . 5 ; H errmann-Bruckmann , p l . 8 2 . C heiron g ems : A GDS I I , n o . 3 98 ( 1st 4 o f t he i st c entury B .C .) ; A GDS I V , n o . 9 59 ( 1st c entury A .D .) ; A GDS I , 2 , n os . 1 381 - 1 385 ( 1st t o 2 nd c entury A . 11?) ;

A GDS

I , 3 , n o. 2 712 ( 2nd c entury A .D .) N o c omplete s culptural v ersion o f t he C heiron h as s urvived , a lthough a m arble h ead f ound o n t he E squiline m ay b elong t o a c opy ( cf . a lso C 7) . T his

i s d ated o n s tylistic g rounds

c entury

B .C . ;

a H ellenistic

t o t he l ate 3 rd t o e arly 2 nd

s culpture-group o f

t he

c haracter

o f

t he

C heiron a nd A chilles f rom H erculaneum c ould c ertainly h ave b een c reated e ither a round t hat t ime, o r l ater i n t he 2 nd c entury B C . T he c entaur h ead : a nd f ig. 2 2.

P al .

d ei C onservatori ,

D AIR 6 2 .

4 31;

S äflund ,

8 4

T he m otive o f C heiron a nd A chilles a ppears a s a d ecorative d evice o n t he s hield o f A chilles i n t wo P ompeian p aintings o f A chilles o n S cyros s eemingly b ased u pon a l ate 4 th t o 3 rd c entury B .C . model , a nd t hus m ay h ave b een o riginated i n p ainting , a s R obertson b elieves, a nd o nly l ater g iven a p lastic r endering . N aples, M us . 2 ) a nd 2 2 .

N az .

n os .

R obertson , 5 84 .

9 110 ( fragment) a nd

16085 ;

T he p aintings:

E lia n os .

2 1

( fig .

C f. a lso H . S ichtermann , R ömMitt L XIV ( 1957) 9 8 f f. 5 .

A g em w ith a r elated d esign A 91 o riginal ;

A .D . g ems 8 9 A ppendix. — 6 .

i s p erhaps

l ate H ellenistic,

i f

i n d etail i t h as m ore i n c ommon w ith t he i st t o 2 nd c entury a nd

9 0 ;

c ertain

a nomalies

make

i t

s uspect

- s ee

O ther F ourth S tyle p aintings f rom t he s ame h ouse a s 8 1 ( Pompeii V I 9 , 2 ) w hich p ortray s ubjects a lso f ound a t t he ' Basilica ' ( Thetis i n t he w orkshop o f H ephaestus , E lia

1 28 ;

H elbig ,

Pn o .

1 317 ,

T heseus w ith t he d ead M inotaur ,

N aples M us . N az . n o . 9 528 , H elbig . P n o .

1 215) d o n ot

s eem r elated s o v ery c losely t o t heir H eraculanean e quivalent . 7 .

M arsyas w ith a s yrinx ( usually i n a ddition t o t he f lutes) : 2 9a a nd b , 8 2 , V Ia , X Ic , X VIb , X Xc , X XIc .

A 49 ,

A 64 ;

M arsyas i nvented t he f lutes

a nd s yrinx: P lato, R ep, 3 , 3 99e; Metrodorus o f C hios i n A thenaeus, D eip. 4 , 8 .

T he g ems

1 84 a . M arsyas i nvented t he s yrinx: E uphorion f rag. 3 3. r eflecting

P olygnotos ' v ersion :

F urtwängler ,

A G

I I ,

1 49 .

O n ap ossible p ainted s ource f or t he C heiron g roup, s ee n ote 4 . T rajan i s r ecorded a s h aving u sed a n i ntaglio d epicting M arsyas a nd O lympos a s a n o fficial s eal; i t may well h ave f eatured a d esign s imilar t o g ems 8 7 - 9 0 : I nstinstsky,

C IL V I 3 2374 ( =2078) c ol .

I I p .

D ie S iegel d es K aisers A ugustus ( 1962) 4 1.

1 06

3 7

H .U .

C hapter 6

n otes 9 14

p p. 7 0-73

9 .

C lassicising t endency i n H ellenistic s culpture : n ote 5 5 ( including f urther r eferences); 5 46.

1 0.

S ee b elow , p .

1 47 o n C 2 b .

1.

H errmann , H G

8 9.

1 2.

H elbig P 6 9 n o. 2 30. S ee C atalogue.

1 3 .

O lympos w ears a P hrygian c ap i n 8 1 ; H e w ears e astern d ress A 76 ,

1 4 .

A 78 ,

R obertson ,

5 24 w ith

h e w ears a c loak i n 7 6 a nd 8 7 .

i n s everal p re-Roman M arsyas-Olympos

A 79 .

C oinage: p p.9 a nd 9 1 n ote 1 2.

W riters:

1 07

p p. 1 0 a nd 9 1 n ote 1 4.

s cenes :

C hapter 7 1 .

n otes 1 - 1 2

N o d etailed

p p. 7 5-78

d escription

s urvives

o f

t he

l ost

s arcophagi

9 6 a a nd

b ;

t hese a lso m ay h ave b een c yclic w orks. 2 .

A thena h urled t he f lutes i nto t he m arshes o f L ycia , much l ater m ythographer C laudian ( in E utrop .

3 .

O n

t he

i nverted

i llustration ,

c ithara,

s ee

s ee

p .

I I ,

1 4 f .

a ccording t o t he

2 55 f . ) .

C oncerning

X I

a nd

b ook

p . 8 1.

4 .

B rilliant.

1 62 f .

5 .

T he H ellenistic g roup:

6 .

O n X VII, s ee p . 2 9 f ; o n V c , s ee p . 4 9.

7 .

P liny ,

N H V ,

1 06 ;

A 88.

S ee p . 3 9 f .

H yginus f abulae 1 65 ;

a lso r ecorded i n S olinus,

4 0 ,

7 . 8 .

3 1, s ee p . 4 3; 3 4. s ee p . 4 7;

9 .

N ote

t he

c omparable a cclamation o f

( hanging M arsyas) ; 1 0.

s ee p .

C f. 9 ,

s ee K .

A pollo

i n

t he

l ower

z one

o f

7 4

6 1 .

F or d efinition o f t he t erms p ainting) ,

1.

I IIb, s ee p . 4 8.

S chefold ,

' Cycle ' a nd

' Pendant' ( in r elation t o

V ergessenes P ompeji

( 1962)

1 86 .

where p endant p anels o f Marsyas a nd A pollo f ace e ach o ther

a cross a r oom . 1 2.

F igures a bstracted f rom a k nown c omposition-type, o f O restes a nd P ylades b efore I phigenia a mong t he T aurians, i n f antasy a rchitecture

i n r oom

a re s imilarly d ispersed

a ( north w all)

o f

P ompeii

I II 4 ,

4

( Dom . P inarius C erialis ; N eronian )T S chefold , W P 5 9 ; R umpf , 1 78 , p l . 6 3 , 1 . H owever , t hese d o n ot f orm a u nified p rogramme w ith t heir c ompanions a s i n I II . T he t ripartite a rchitectural d ivision i n I II i s

r eminiscent

o f

t he

f orm

o f

t he

s uggests a t heatrical c onnection . t he f igures w ithin t he a rchitecture

t heatrical s caenae f rons a nd

B ut w as

p erhaps t he d istribution o f i ntended t o e voke a n a nalogy

w ith t he d isplay o f s tatuary i n b uilding f acades a nd n ymphaea .

T he

s cheme o f I II i s u nlikely t o s how a d ramatic p erformance a s s uch ( contra M . B eiber , AH istory o f t he G reek a nd R oman T heatre 2 ( 1961 l argely s tandard i conographic t ypes a re e mployed , r ather t han c ostumed ' a ctors ' ( cf . a ppendix A 87 : a d ramatic p erformance o f t he c ontest e pisode?) .

f 55 ) g in ce

T he s tatue-groups 8 4 a nd p erhaps A 88 b a nd h m ay h ave f ormed p art o f t he d ecorative s cheme o f a n O deon a nd a t heatre r espectively . 1 3.

T he l id o f X V c arries r eclining f igures o f t he t wo M uses o mitted f rom t he main f rieze, A rtemis, a nd a s econd A pollo .

T his d ecorative

a rrangement c omplements t he m ain d esign w ithout f ully c onstituting a s eparate n arrative o r p endant s cene . T here a re c ompositional a nomalies i n t he c ontest s cene o f X III , t he o verall c yclic d esign . 1 4.

O n X II, s ee p p. 3 5; 5 7 f f.

1 08

b ut t hese a re s ubsumed w ithin

C hapter 7 1 5.

n otes 1 5-24

S arcophagus

f ragment

p p. 8 0-84 X VII

m ay h ave

b een

f rom

a m ulti-scene

c ycle ,

a lthough i t i s i mpossible t o t ell f inally . I t i s c haracteristic o f s uch c ycles, i n t hat i t d eviates f rom t he s tandard i conographic r epertoire o f t he t hree-scene s arcophagi , a nd i ts i ndividual s cenes a ppear t o h ave b een c ompact, a r equirement i f al arger t han u sual n umber w ere t o b e s hown - c f . X I . 1 6.

S ee p .

1 7.

S tatue-group A 88 : s ee p . 3 9.

1 8 .

c f .

1 4 .

S ichtermann-Koch ,

3 5

C aptive M arsyas: f .

C arettoni,

s ee p . 4 2 f . 6 9

f"

c oncluded

t he

u nfamiliar e lements w ere i nspired b y a t heatrical w ork . 1 9. 2 0.

S chefold ( supra p . 8 9 n ote 3 ) 7 79. D amage p recludes a ny c onsideration o f f ragment X VII i n t his r espect. A thena : C atalogue d espondent M arsyas : M arsyas :

3 3 -4 4 ;

n os . 1 - 6 ; t he c ontest: 7 - 2 6, 9 7, 9 8 ; 2 7 -2 9 ; t ransitional s cenes: 3 0 -3 2 ; b ound h anging

M arsyas :

4 5 -7 4 ;

M arsyas

a nd

O lympos :

7 5 -9 1. 2 1.

O n t he d evelopment o f n arrative i n E truscan a nd e arly R oman a rt ,

s ee

B rilliant, C hapter o ne, p assim . O n M egarian b owls, B rilliant , 4 1 f f . 2 2.

s ee W eitzmann ( supra p .

A thena a nd f lute-playing:

s ee p . 3 ;

8 9,

n ote 3 ) ,

p assim .

Marsyas a s i nventor o f t he

f lutes : P liny , N H V II , 5 7 ; A nth . P al . 9 , 2 66 ( Antipatros) ; a s i nventor o f f lute-playing , P lato , M in . 3 18 B ( here p . 8 ) . c omposed f or t he f lute a nd d edicated t o A pollo b y O lympos : d e M us . 1 4 , 133 E .

M arsyas A n omos P lutarch ,

V ase-painting A 80 ( end o f t he f ifth c entury B .C . may s how t wo s ubsequent e pisodes f rom t he c ontest p hase , o r a lternative v ersions . 2 3. 2 4.

A udin-Vertet ( supra p . 1 03 n ote 1 8) 2 46. T ext o f i nscription o n 1 2:

s ee C atalogue .

C onjunction o f t ext a nd p ictures: W eitzmann ( supra p . 8 9 n ote 3 ) ; B rilliant , C hapters o ne a nd t wo . C f . a lso E . B ethe , B uch u nd B ild i m A ltertum ( 194 9 . A p ossible p arallel t o 1 2 i n wall-painting: mythological s cenes a ccompanied b y G reek e pigrams i n a h ouse f rom A ssisi ( Augustan), MemLinc X XIII ( 1979) 2 69; G reek s cript .

b ut h ere t he e pigrams a re r endered i n

P erhaps a m ore d irect p arallel o ccurs i n aR omano-British m osaic f loor d ecoration f rom L ullingstone , K ent ( in S itu , c . m id 4 th c entury A .D . ) , w here a s cene f eaturing t he a bduction o f E uropa i s a ccompanied b y a L atin c ouplet r elating t he e pisode ; t he s cript r uns i n a t wo-tier s trip r ight a cross t he u pper e dge o f t he f igured d esign . C f . D .J . S mith , ' Mythological F igures a nd S cenes i n R omano-British M osaics ' , i n J . M unby a nd M . H enig , R oman L ife a nd A rt i n B ritain i ( 1977), 14 f ., n o . 2 7 ( with f ull b ibliography), p l. 6 X XIV b .

1 09

C hapter 7

n otes 2 5-29

p p. 8 4-85

2 5.

A . T rendelenburg , ' Die G egenstücke i n d er c ampanishcen W andmalerei ' , A Z X XXIV ( 1876) 1 -8 , 7 9-93 ; K . L ehmannHartleben , ' T h e Imagines o f t he e lder P hilostratus ' , A rtB X XIII ( 1941) 1 6-44 ; M .L . T hompson , I le M onumental a nd L iterary E vidence f or P rogrammatic P ainting i n A ntiquity ', M arsyas I X ( 1960/61) 3 6-77; K . S chefold, L a P einture P ompgienne ( Coll . L atomus 1 08) ( 1972) 1 28 f f . B rilliant , C hapter t wo , p assim .

2 6.

A h andful o f M arsyas s cenes a ppear i n c onjunction w ith s cenes s imilar t o t hose c ited a s c ompanions b y P hilostratus J unior : t he l ate m osaic 4 8 g ives M arsyas h anging p aired w ith A chilles o n S cyros , P hilostratus ' n o . I ; h is n os . 4 , 5 , 1 2 a nd 1 6 d epict H erakles, a nd f ive M arsyas s cenes a re g rouped w ith s cenes o f t he e xploits o f H erakles ( 12 , 2 3 , 3 0, 5 3, 9 7, I ) . B ut s uch e xamples a re o f l ittle p articular s ignificance , b eyond c onfirming t hat t he c ombination o f M arsyas w ith t hese s cenes b y P hilostratus w as n ot i nappropriate .

2 7.

P erhaps a lso l ess s ophisticated m osaic 3 0

2 8.

T he f unerary s ymbolism o f

M arsyas :

f rom P ortus M agnus.

I gonna ( supra p . 9 0 n ote 2 ) ;

C umont , R 6cherches s ur l e s ymbolisme f uneraire d es R omains f . ; 3 01 f f . 2 9.

( 1942)

F . 1 7

W . F röhner , M usees d e F rance ( 1873) 1 4 1 2 a n a llegory o n R oman l aw ; C . P icard, M élanges M onna ( 1957) 3 85-393: P ythagorean i nterpretation o f 1 3 ; C .C . V ermeule , G nomon X L ( 1968) 8 19 ; M arsyas i n a ' N eo-Platonic s tate o f q uasi-apotheosis . '

10

A 69 x vii :

T HE M YTH O F M ARSYAS I N T HE R OMAN V ISUAL A RTS

P ART T WO ( Catalogue, A ppendices a nd I llustrations)

1 11

T he C atalogue: G uide t o U se i )

T he i ndividual C atalogue e ntries a re n umbered c ontinuously f rom 1 9 8, s ome b eing multiple e ntries o f c losely s imilar w orks . I n a ddition , t hose w orks w hich c ontain m ore t han o ne e pisode , d enoted ' cyclic ' f or c onvenient r eference a lthough i ncluding c ontinuous n arrative c ompositions, a re n umbered s eparately I - X XI w ith i ndividual s cenes i dentified b y l ower c ase l etters . I ndividual c yclic s cenes a re g iven a c ross-reference i n t he c orrect c hronological s equence w ithin t he a ppropriate S ubject a nd M edia s ubd ivisions.

i i)

' Left ' a nd ' right ' r efer t o t he c onsidering p arts o f t he b ody .

s pectator 's

v iewpoint ,

e xcept

w hen

i ii)

A ll d imensions a re g iven i n c entimeters , w ith t he h eight b eing g iven f irst u nless o therwise i ndicated .

i v)

T he C atalogue i s d ivided i nto t he f ollowing s ections: A thena a nd M arsyas; T he C ontest; T ransitional: M arsyas p leading a nd l ed t o E xecution ; M arsyas B ound ; M arsyas H anging ; M arsyas a nd O lympos; M arsyas a s ad ecorative A djunct t o t he A pollo C itharoedus; V aria ; A ddenda ;

v )

E ach s ection i s b roken d own b y m edium i nto t he f ollowing d ivisions , w ithin w hich t he w orks a re a rranged c hronologically : P ainting ; S tucco/Ceramic/Metalwork - A pplied o r C ast R elief; M osaic ; S tatuary a nd m ajor c arved R elief, i ncluding S arcophagi ; E ngraved a nd o ther G ems; E ngraved G lass; C oins.

12

A thena a nd M arsyas: P aintings 1

P ompeii I 7 ,

1 9 .

P ainted p anel o n t he u pper w all

o f t he a lcove o f

r oom f ( cubiculum , N E c orner o f t he h ouse) . S quare f ormat 4 0 x4 0 c m .) a gainst a r ed p anel. V ery p oor c ondition .

( approx .

B elow , al arge s acral-idyllic l andscape . ( fig.

1 )

T owards t he r ight o f c entre a nd s tanding i n t he m id-ground , i s a f ulll ength f igure o f M arsyas , f acing l eft . H is b ody i s p ainted a r ich b rown h ue .

H e s tands i n a n a ttitude o f a stonishment s imilar t o t hat o f t he

s culptural S px ) rda r C t ype o f M arsyas . T owards t he l eft f oreground , i n a n a rea n ow l argely f aded , a nother f igure i s j ust v isible . I t i s d ecipherable a s A thena , who s its f acing r ather t o t he r ight a nd h olds t he f lutes; i t s eems s he i s s till p laying, b ut i t i s i mpossible t o t ell f or c ertain . F urther t races i n h er v icinity i ndicate s he may h ave b een a ccompanied, p erhaps b y o ne o r m ore s pring n ymphs . T here w as a b lue-green a t t he a rea o f c ontrast c urving d ownwards

l andscape s etting ; o verall , t he p anel i s g raded f rom p ale b ottom t o ar icher l ight b lue a t t he t op . Am ore d istinct i n t he m id-foreground , l ighter b elow , d arker a bove , a nd t owards t he r ight , a ppears t o m ark t he m argin o f a p ool

o ccupying t he i mmediate f oreground . E arly T hird S tyle :

2 0 - 1 0 B .C ., p hase I a ( Bastet) o r c a . A .D . 1 0 ( Schefold)

S chefold, W P 3 6; B astet - D e V os, 2 9, f ig. 3 ( whole w all). Ia

E arly T hird S tyle - L ate A ugustan .

2

D estroyed . O nce i n R ome . T he p ainting w as d rawn i n t he 1 8th c entury b y F . B artoli i n a n u nspecified a rea o f t he s o-called ' Baths o f T itus ' ; p robably f rom N ero 's D omus A urea . ( fig. 4 ) A thena i s s eated c entrally ,

r ight f oot r aised a nd p laced o n a b lock o r

l edge . S he i s h olding a f lute i n e ach h and , b ut n ot p laying . H er h ead i s t urned t owards t he t wo s pring n ymphs a t t he l eft , o ne s tanding a t A thena 's s houlder , t he s econd r eclining a t h er f eet , a n e lbow r esting o n a n u pturned u rn . T he r eclining n ymph r eaches o ut h er l eft a rm t o A thena a nd a ppears t o b e e ngaged i n c onversation w ith h er . I t i s l ikely t hat t he s pring i s r elaying t o A thena t he n ews t hat f lute-playing d istorts t he f ace . A t hird s pring n ymph l ooks o n a t t he r ight . T he f igures a re f inely d rawn ,

w ith d etailed d raperies a nd a ppear l arge-

s cale w ithin t he p icture f ormat a s r ecorded . T here m ay h ave b een a h orizonl ine a bout l evel w ith A thena 's k nee a nd t he d rawing r egisters n o b ackground d etail . T he b ackground w as b lue, t he d raperies o f t he n ymphs w ere b lue/green a nd A thena 's r obe w as p urple , w ith t he o vermantle b eing f lamer ed. W hile

t here

i s

n o

r ecord

o f

a ny M arsyas

13

f igure c onnected w ith t his

p icture,

i t c learly r epresents t he e arliest e pisode o f t he s tory ,

a nd

d epicts f igure-types a nd g roupings u sed e lsewhere i n c onjunction w ith M arsyas. P robably a fter A .D . 6 4. A . M illin , G alerie m ythologique ( 1811) 8 3,

1 30;

J . W inckelmann , M onumenti a ntichi i nediti ( 1821) I , n o . 1 8 ; d escription : v ol . I I, p . 1 9-21, a fter a d rawing o f F . B artoli i n t he V atican L ibrary ; R einach , R P 2 1, 1 .

I II a

F ourth S tyle ; V espasianic?

A thena a nd M arsyas: S tucco r elief

I V a

c a . A .D . 2 5.

A thena a nd M arsyas: M osaics

V II

E arly 4 th c entury A .D .

3

S omerdale , n ear B ristol ; c anteen o f C adbury-Schweppes c hocolate f actory . M osaic p icture-field f rom t he p avement o f t he h exagonal r oom o ff t he g reat c ourtyard o f t he R oman v illa a t K eynsham . T he u pper p art o f t he d esign i s d estroyed ; t here a re o uter b orders o f c hevron p attern o n e ither s ide a nd a l ower b order o f c able p attern ; t here i s a d ouble i nner f rame o f d ark b lue t esserae . D imensions o f t he i nner p anel: h eight a t l eft: 6 1 c m . h eight a t r ight: 2 0 .3 c m. ; w idth : 8 9 c m . ( fig. 8 )

A thena , v iewed f rontally , i s p erched o n as tylised r ock a t t he l eft ; h er l eft k nee i s r aised u p a nd t he f oot , s een i n p rofile , i s s et u p o n a b lock o r s tep . T he h ead , s houlders a nd a rms o f t he g oddess a re a ll n ow m issing , b ut i t i s e vident f rom t he l ower e nds o f t he f lutes p reserved t o t he r ight t hat h er u pper b ody w as t urned i n t hat d irection a s s he p layed . T he l ower c entral a rea o f t he p anel i s o ccupied b y a s pring , o utlined b y a n u ndulating b lack b order ; p eering f rom t his i s t he r eflected f ace o f A thena , t he t ips o f t he f lutes p rojecting f rom h er m outh . S he w ears a r ed-plumed h elmet a nd t he white ' bib ' b eneath h er c hin may b e i ntended t o r epresent h er a egis . A thean 's r obes a re d elineated i n d elicate s hades o f p ale b lue, p ink a nd w hite ; h er f lesh i s p ink . T he d amaged f igure s tanding a t t he r ight w as c ertainly a s pring d eity . I t s eems t he f igure i s s tanding i n a r elaxed p ose , w ith o ne f oot c rossed b efore t he o ther , a nd f acing t owards t he l eft . T he l eft h and o f t his f igure i s v isible s upporting s ome r ounded o bject , p robably t he m outh o f a n u pturned v ase ; f rom t his d escends a d ark , s wirling c olumn w hich j oins t he s pring b elow . T his s econd f igure w ears r obes o f m id-blue , w ith s ome r ed e dging .

14

T he f igures a ppear a gainst a w hite g round. C ompanion s cenes: E uropa a nd t he B ull; A chilles o n S cyros ( ?). 4 th c entury A .D . A .

B ulleid

T oynbee,

-D .E . A rt

H orne ,

A rcheologia L XXV

( 1926)

i n B ritain u nder t he R omans

1 25ff"

( 1964)

2 40

p ls .

1 6-18 ;

f .;

A .

J .M .C .

R ainey ,

M osaics i n R oman B ritain ( 1973) 11; D .J . S mith i n : J . M unby a nd M . H enig ( Eds.), R oman L ife a nd a nd A rt i n B ritain ( 1977) 1 49 f .; R . S tupperich , B ritannia X I ( 1980) 2 93-296.

4

C ity

Museum,

N abeul,

T unisia .

P olychrome

p seudo-emblema

f rom

K elibia. A thena

s its a t t he l eft,

h olding a f lute i n e ach h and ,

a pparently n ot

p laying .

W hilst h er b ody i s d irected t owards t he l eft, s he a ppears t o t urn

h er

i n t he d irection o f

f ace

a r iver g od

r eclining a t

t he

r ight

a nd

g esticulating a t h er w ith h is r aised r ight h and ( ?) ; a t h is b ack , a t ree o r r eed b undle .

S lightly a bove a nd t o t he l eft o f t he r iver g od c an b e s een

t he h alf-figure o f M arsyas, s pying o n A thena f rom b ehind a r ock . 4 th c entury A .D . U npublished . a t T rier ,

1 984 .

( ?)

I llustrated a t t he I nternational C ongress o n A ncient M osaics F or s uch i nformation a s i s a vailable ,

Ia m i ndebted t o D r .

R .J. L ing a nd P rof. J .P. D armon.

A thena a nd M arsyas: R oman S arcophagi Xa

A .D .

1 50 - 1 70/80

X I a

A .D .

1 50 - 1 70/80

X III a

L ate 2 nd c entury A .D .

X IV a

L ate 2 nd - e arly 3 rd c entury A .D .

X V a

A .D . 2 00 - 2 10

X VI a

E arlier 3 rd c entury A .D.

X VIII a

A .D .

X IX a

M id - l ater 3 rd c entury A .D .

X X a

M id - l ater 3 rd c entury A .D .

5

( ?)

2 20 - 2 30

A l ost f ragment f rom a s arcophagus ; o f t he V illa A ltobrandini ,

F rascati .

o nce t o b e s een i n t he b elvedere k nown f rom a d escription .

A pparently t here w ere d epicted : M arsyas w atching A thena , w ho h eld a f lute i n e ach h and , a nd p erhaps a lso a w ater n ymph .

T he f ragment m ay h ave b elonged

t o a s arcophagus i ncluding o ther M arsyas s cenes .

15

P ossibly t he l eft c orner

o f ar eplica o f t he s arcophagi R obert A SR I II n os. 2 02 - 2 08.

D escribed : J . W incklemann , A SR I II , 2 63 n o . 2 08 1.

M onument' a ntichi i nediti ( 1767)

1 9

f 4

R obert ,

A thena a nd M arsyas: C oin 6

B ritish M useum , L ondon . A pamean c oin ; o b. S eptimius S everus.

I n t he f oreground A thena s its o n a r ock , a gainst w hich l eans h er s hield . H er l egs a nd l ower b ody a re d irected t owards t he l eft , b ut h er u pper b ody i s t wisted t o f ace t o t he r ight a s s he b lows t he d ouble f lutes o ver a n a rea o f w ater ,

i ndicated b y s tylised w avelets .

B ehind h er ,

a nd t o t he l eft,

r ocky c liff a bove w hich M arsyas a ppears , c ut o ff b elow t he w aist . a rms a re r aised i n a stonishment.

i s a

B oth h is

L andscape e lements a re r estricted t o t he s tylised r ocks a nd w ater . A .D .

1 93 - 2 11.

H ead, n o . 1 64, P l . X II, 2 ; B .V . H ead, H istoria N umorum B ernhart, J fNG I ( 1949) n os. 1 474, 1 478; p l. X I, 7 . C f .

A ppendix A l E a nd q :

2

( 1911) n o . 6 66; M .

R oman n umismatic c opies o f t he M yronian A thena-

M arsyas s culpture g roup o n A thenian c oinage.

T he C ontest , : P aintings 7

P ompeii I 1 0, 4 ( Casa d el M endandro) .

S ection o f n arrow

s trip f rieze c omposition d epicting d eities a s d warves ; r oom a , e ast w all ( ante-room t o t he b ath, w est s ide o f t he p eristyle ) . H eight a s p reserved o f t he M arsyas s ection : 2 5 c m . a pprox . P oor c ondition ; m ostly o nly h ead r emain . M arsyas , A thena a nd A pollo a re s hown ; M aiuri ( below ) a ssigns t hese f igures w ithin t he f rieze n os.

1 7 - 1 9.

A thena a ppears b etween t he t wo a dversaries , c learly r ecognisable b y h er h elmet , t he s pear h eld i n h er l eft h and , a nd t he s hield b esides h er . S he e xtends h er r ight h and t owards M arsyas w ho i s a t t he l eft a nd o n a l ower l evel . H er h ead i s t urned t owards A pollo a t t he r ight ; h is h ead t oo o nly r eaches t he l evel o f h er s houlder . A thena i s o nly p reserved f rom t he w aist u pwards, M arsyas a nd A pollo f rom t he s houlders u p . E ven s o, i t s eems v irtually c ertain t hat A pollo a nd M arsyas w ere s hown s eated a nd A thena s tanding , s ince b etter-preserved p ortions o f t he f rieze s how t he m aximum h eight o f t he p ictorial f ield a s b eing e quivalent t o t he h eight o f a s tanding f igure . M arsyas, h is h ead b owed s lightly t o t he r ight a nd e xhibitiing c learly s atyric f eatures , b lows o ne f lute w hilst h olding o ut a s econd i n h is o utstretched l eft ( ?) h and . A pollo, w earing a h orned o r f eathered h ead o rnament , f aces M arsyas ; h e i s h olding a b ranch - h is l aurel s taff, o r p erhaps a v ictory p alm - i n h is l eft h and.

16

T he

f rieze

i s

e xecuted o n a w hite g round ,

s trips a bove , a n arrow i llusionistic f aint t races o f b uildings.

c ornice

w ith r ed a nd m auve f raming b elow .

I n

t he

b ackground ,

C ompanion f igures a re: 1 -2

t wo h eads

3 -4

T heseus a nd t he M inotaur ( with G reek i nscription)

5 -8

t he q uarrel o f A phrodite

9 -12

t he l oves o f Z eus

1 3-16

t he l ove o f P aiphae ( with G reek i nscription) F ine S econd S tyle; c a. 4 0 B .C.

A .

M aiuri ,

L a C asa d el M enandro

( 1932)

1 35

f f"

f ig .

6 3 ;

R umpf,

1 69 ,

f ig .

2 1; S chefold, W P 4 4.

Ib /c

E arly T hird S tyle - L ate A ugustan .

I II a

F ourth S tyle ; V espansianic?

8

F rom , P ompeii I II ,

1( Helbig : ah ouse o n t he s outh s ide o f t he

V ia N olana), s outh p rothyron .

a )

T wo p ainted p endant p anels.

( a)

N aples, M us. N az. n o. 9 154.

( b)

D estroyed.

4 1 x 4 0 c m .

R ecorded: 4 4 x 4 0 c m .

M arsyas s its c entrally o n a r ock w hich i s d raped w ith a n a nimal p elt .

Hi s b ody i s d irected s lightly t owards t he l eft a nd h is h ead i s t urned f ractionally t o t he r ight . H e i s b lowing t hrough t he f lute h eld i n h is l eft h and ;

t he s econd f lute i s h eld a t r est i n M arsyas ' r ight h and ,

r esting o n h is r ight t high .

B ehind h im t here i s a t ree;

i ts l ower t ip t he s cene i s

l ocated i n a r ocky l andscape . b ) D rawn b y A bbate :

A pollo ,

c lad i n ac hlamys a nd h olding a p lectron i n h is

ri ght h and , h olds o r p lays t he s trings o f ac ithara w hich r ests o n a c olumn a t

t he r ight ;

l andscape

t he g od i s s tanding .

F ourth S tyle ;

a )

' Vespasianic'

H elbig, P . n o . 2 24;

§ c hefold

I n t he b ackground ,

a t ree t runk i n a

s etting . ( Schefold).

H adaczek ,

3 15

f f.,

f ig .

9 2;

R einach,

R P

3 2,

3 ;

W P 5 57

b )

B ulletino a rcheologico n apolitano

no .

1 82 .

( a .s .)

17

( 1842-48)

I I ,

p .

1;

H elbig ,

P

9

P ompeii I X 1 , 2 0 D omus E pidi R ufi ( Casa d ei D iadumeni) . p ainted p endant p anels

T wo

f acing e ach o ther a cross r oom 2 0

( triclinium r ight f rom t he t ablinum). a )

S outh w all; a lmost c ompletely e ffaced. 4 6 x 4 7 c m .

( f ig. 9 ). b )

N orth w all; v ery p oor c ondition. 4 8 x4 8 c m .

( fig.

1 0).

D escription a fter 1 867 d rawings: D AIR W 3 40.

a )

A b eardless

M arsyas

H e b lows b oth f lutes ,

s tands,

f rontally p resented ,

h eld h igh i n e ither h and .

j ust

r ight o f c entre .

H e w ears a s pruce g arland

o n h is h ead . T o h is l eft s tands O lympos, l eaning a gainst a s hort c olumn a nd m aking a g esture t owards M arsyas w ith h is f ree r ight a rm . T he y outh 's l eft a rm , u pon w hich h e l eans, i s d raped w ith a b lue r obe . T o t he r ight, a b asis d raped w ith a g reen r obe , a nd a gainst w hich l eans a p edum . A m idg round a rchitectural s creen may i ndicate a s anctuary s etting . b ackground c ontains s uggestions o f ar ocky a nd w ooded l andscape. b )

A pollo ,

n aked s ave f or a f lowing r ed c hlamys,

T he

s trides t o t he f ore a s h e

p lays t he c ithara , s triking t he s trings w ith t he p lectron h eld i n h is r ight h and . T o t he r ight i s s et a n o mphalos a bout w hich t wines a s erpent . T he l eft s ide i s s creened b y a n a rchitectural e lement m atching t hat i n p anel a . T he b ackground s hows t races o f f oliage .

C ompanion p ictures a re: E ast w all :

t he c ontest b etween V enus a nd t he E vening

S tar ;

H elbig ,

P n o .

9 67 b . D ispersed b etween t he main p ictures a re Muses, n ot s trictly s peaking p art o f e ither c ontest: H elbig, P n os. 8 63 b , 8 70 b , 8 85 b , 8 92 b .

F ourth S tyle ;

' Vespasianic'

( Schefold).

a )

H elbig, P n o. 3 21; R einach , R P 3 2, 5 ;

b )

H elbig ,

P n o .

2 31;

R einach ,

R P 2 4 ,

5 ;

S chefold W P 2 37. S chefold

W P 2 37 ;

L IMC I I ,

4 28 n o. 4 71. -

1 0

P ompeii I X 3 , 5 , D omus M . L ucreti ( Casa d el S uonatrici) . T wo p ainted p endant p anels f lanking a l arger c entral s acrali dyllic p ainting o n t he u pper w all o f r oom 6 ( first r oom l eft f rom

t he a trium) .

p anels : ( figs.

B oth i n p oor c ondition .

H eight

o f

4 0 c m . a pprox . 1 - 1 2).

T he t wo n arrow-bordered p anels a re d epicted a s r esting o n t he p ainted c ornice ; e ach c ontains o ne f igure , s hown w ith f eet o verlapping t he c ontaining f rame.

18

1 ,

p .

�) (Left-hand panel; fig. 11) Marsyas, presented frontally, is shown striding slightly to the left of fore, as he blows the flutes raised up high. He wears a blue and red cloak. �) (Right-hand panel; fig. 1 2) Apollo, apparently playing the lyre, is also viewed from the front. In a movement that mirrors that of Marsyas, he steps to the right. He wears a reddish coloured cloak. Neither panel is well enough preserved to see if the light-toned ground contained any background detail. It is perhaps unlikely that such occurred in view of the illusionistic device employed to project the figures in front of the picture-plane of the framing border. Fourth Style; 'Vespasianic ' (Schefold). Not recorded in Helbig, R_ or Reinach, RP; Schefold, WP 247. The Contest: Applied or cast Relief; Metalwork . 11

Musee Nationale du Bardo, Tunis; no. E3. Gold inlay and incised design on the interior tondo of a silver patera from Bizerta; found during excavation of a canal. Dia. 65 cm. (Max. including handles: 92 cm.). (fig . 13).

In the centre, presented frontally but stepping to the right, stands Marsyas. He blows both flutes and wears a flowing nebris; behind his left shoulder there is a stout tree trunk. He is encircled by six further figures, ranged above, below and on either side in a rocky landscape setting. Above Marsyas, and to the right, stands Athena; she hold a spear. Beneath her and to the right of Marsyas is Apollo. He is of the seated type (frontal) met elsewhere, especially on the Marsyas sarcophagi; the cithara is supported on a ledge to the right, while he stretches out his right arm towards Marsyas. Below Apollo sits a robed female figure seen in left profile, her right hand raised to her face. By her knees stands a low table bearing a ntllllber of small objects (not fully identifiable). Directly beneath Marsyas' feet reclines Olympos, who wears Phrygian clothes. To the left of Marsyas sits Cybele, turret-crowned, supporting with her left hand a bulky object which rests on her left thigh (tympanon or other sacred object?). Finally, above her, occupying the upper left area of the tondo, sits a regal, bearded male figure who holds a staff; prestnnably Zeus . Decorative detail in two narrow surrounding friezes: amours, gryphons and other animals, fruits, vases and baskets, inner: Bacchic musical instruments; outer:

Bacchic procession .

(All badly damaged).

2nd ½ of the 1st century A .D. P. Gauckler, Monuments Piot II (1895) 77-94, pl. 9; Reinach, RRel 2, 8; 119

C. Picard, Melanges Deonna (Coll. Latomus 28) (1957) 385 ff.; M. Yacoub, Le Musee du Bardo (1970) 60; H. Mobius in Festschr ift fur F. Matz (1962 ) 97 ('not before Claudius'); LIMC II, 1, 427 no. 462 b. 12

s. Germain-en-Laye, Mus. Nat. des Antiquites no. 9684. Relief medallion forming one side of a South Gaulish flask; thought to have been found in the Rh8ne Valley. Dia. ea. 11 cm. (fig. 14) . Not good quality - late cast of an old mould .

The figures are somewhat cramped within the pictorial field in a way which suggests this may be a compressed version of a work originally executed within a different format. The central area is occupied by the two contestants, supported upon a floating ground-line. Marsyas stands to the left with legs braced apart; his upper body is turned towards Apollo and he flutes passionately, the instruments held up high. The composed figure of Apollo sits facing him, his lower body draped, his head adorned by a nimbus. He rests the cithara on his left knee and gestures with his free right hand - in which he grips the plectron - towards the satyr. Just visible between these two is a diminutive pair of Nikes (?) bearing a victory shield which supports a palm frond. Above the central group, again on a floating support, three nymphs or Muses are seated. Dispersed around the perimeter of the central group are a further sev�n figures. On the right, and partially obscured behind Apollo, a draped female figure stands holding a flute or scroll; perhaps a Muse. Still further to the right a compressed figure of Hermes, masked from the waist down by a seated and robed female figure, seen in left profile, posed with her right hand raised to her face; perhaps Hera or Leto. To balance Apollo's three attendant figures, Marsyas has four; if. anything, they are even more compressed, being crushed into the space available to the left. Immediately behind Marsyas stand Athena and Artemis; emerging between these two appears a bare-chested male figure (face obliterated), with one arm raised in a gesture analogous with that of the similarly placed Bacchus on sarcophagi XV, XVIII and XIX. Bacchus may have been intended, or another supporter of Marsyas, 0lympos for example. Cybele sits in the lower left foreground. At the bottom of the medallion, undulations suggestive of rocks . Beneath the ground-line supporting Apollo and Marsyas there is an inscription, the only one on any Marsyas work, barring a few examples which identify characters within a scene. It does not come directly from any known literary work . PALLAOOS/ENSTUDI0/DIDI CISTI/MARSUA/CANTU/DU MQUE/TIBI/TITULUM/ QUAE RIS/MALA/P0ENA/REMAS*

* (= remansit)

(CIL XXII, 5687, 9)

120

' I t i s t hanks t o t he f avour o f P allas t hat y ou l earned t he a rt o f f luting , M arsyas,

a nd i nstead o f t he t itle y ou s eek ,

0

a c ruel p unishment i s y ours ' .

T he v essel i s s igned: A POLLINAR .CER . T he

e quivalent

m edallion ,

f orming

t he

o ther

f lank o f

t he

f lask ,

s hows

a

b anqueting s cene - p erhaps t he d rinking c ontest b etween H erakles a nd B acchus -w ith ,

a bove ,

B acchic s ymbols

i ncluding s yrinx ,

p edum a nd c rossed

f lutes .

T he o riginal m ould f or t he m edallion w as p robably c reated i n t he e arly 2 nd c entury A .D. W . F röhner, M usges d e F rance ( 1873) 1 4 f ., p l. 3 ; F . H .

F remersdorf, V ertet,

M ainzer Z eitgeschrift

4 6/47

( 1951/52)

1 6,

f ig .

1 2;

' Observations s ur l es v ases ä m gdaillons d 'applique d e l a V allge

d u R hone ', G allia X XVII ( 1969) 1 12 f ig . 9a ; V ertet - A udin ( supra P . 1 03 n ote 1 8) 2 45 f 4 L IMC I I , 1 , p . 4 55 n o . 5 85 .

V a

A ntonine?

T he C ontest: M osaics 1 3

M usge N ationale d u B ardo ,

T unis,

i nv .

5 29 .

M osaic p anel f rom t he

c entre o f ap avement f rom a h ouse 4 00m . f rom t he a mphitheatre i n o ld T hysdrus. 1 .02 m . s quare, p art o f a l arger d ecorative f loor i ncorporating r oundels o f t he F our S easons i n t he c orners, p resented a s f emale b usts ,

w ith k antharoi f ull o f s easonal p lants .

O n t he c entral a xis S cythian

e xecutioner

o r

s tands a f igure i n P hrygian d ress,

O lympos,

f lanked

o n

t he

l eft

p erhaps a

b y M arsyas,

o n t he

r ight A pollo . M arsyas, s eemingly b eardless, p aces t o t he f ore , h is r ight l eg r aised . W ith t his m otion , h is b ody t akes o n as trong d iagonal t owards t he l eft . h and,

b ut

c olouring .

H e h olds t he t wo f lutes d oes

n ot p lay

t hem .

i n f ront

o f

h is

c hest ,

o ne

i n e ither

T he f lesh o f t he s atyr h as a r eddish

A pollo , h is r ight f oot o ver-lapping M arsyas ' l eft, a ppears i n a

s itting p osture ; t here i s, h owever , n o s eat o f a ny k ind d epicted , a nd t he g od s eems s imply t o h over i n mid-air a gainst t he u ndifferentiated b ackground .

S upporting

r ight a bove h is h ead , i nterpreted t imes

t he c ithara w ith h is l eft a rm ,

b ehind w hich i s

A pollo r aises h is

l ocated a n imbus .

T his g esture

b y P icard ( below) a s A pollo c rowning h imself ;

w ithout

a ny w reath o r n imbus

p unishment e pisodes .

b eing

s hown ,

b oth

i s

i t r ecurs many

i n t he

c ontest

M ore l ikely i t i s s imply a g esture o f v ictory .

a nd T he

g od i s d raped a bout w ith a r ed r obe . T o t he l eft o f t his m ain g rouping , s tands A thena, s een i n r ight p rofile . d isrupt

t he

o therwise

s trong g eometric

a nd t hrowing i t r ather o ff b alance , N ot o nly d oes h er l ocation h ere f ramework o f

t he

c omposition ;

i t

a lso r esults i n a s erious s tructural f law . W hile h er f eet e stablish a g round-line i ndicating t hat s he i s s tanding i n a n earer p lane t han M arsyas, h er u pper b ody a ppears t o p ass b ehind h is u pper b ody ,

s uggesting t hat s he i s

s tanding f arther a way . T here a re s uggestion o f a r ocky f oreground, e ntirely f eatureless.

1 21

b ut

t he b ackground i s

T he o mitted s eat o f A pollo a nd t he m aladroit h andling o f t he A thena f igure s uggest t his w ork c ould b e a n e xcerpt f rom s ome m ore c omprehensive c omposition .

B ut

t he d esign o f t he m osaic i s q uite c arefully c onstructed

o n g eometric l ines,

p articularly i n t he s trong V -shape f ocused o n t he

o verlapping f eet o f A pollo a nd M arsyas a t t he c entral a xis . W hether t his, a s P icard c ontends, ' affirms a P ythagorean i ntention ' m ay b e o pen t o d oubt . c a. A .D .

1 80 - 2 00 ( Dunbabin)

P icard ( supra p . 1 20 n o . 1 1) 3 85-393, p ls. L IV-LVI ; Y acoub ( supra p . 1 20 n o . 1 1) 9 6, f ig . 2 9 ; S . G ozlan , K arthago 1 7 ( 1976) 1 73, f ig . 1 9 b ; K . D unbabin , T he M osaics o f R oman N orth A frica ( 1978) C atalogue: E L D JEM ( Thysdrus) n o. 1 4

1; L IMC I I,

1 , p . 4 27 n o. 4 68.

T he D airy, S herborne C astle, D orset. V illa a t L enthay G reen ,

F loor mosaic f rom a R oman

n ear S herborne ;

r elaid i n t he d airy i n t he

1 860 's . C ut o ut f rom t he o riginal p avement (Ca. 3 .94 m . s quare) i n 1 836 . T here r emains a c hequered b order e nclosing t wo i ntersecting s quares which f orm a n o ctagonal p ictorial f ield w ithin ; i nner b orders:

c able

p attern .

T he p ictorial

f ield

i s

c a .

1 .75

m .

a cross. D r . R . J . L ing ( below): m odern t esserae ( oblong ,

l arge p arts o f t he mosaic a re r elaid i n b righter , s harp e dges) ; t he e ntire A pollo

f igure a nd p arts o f t he s urrounding b ackground a re m odern , p resumably b ased o n s ome o riginal

r emains ;

t he

t rapezodial

f ields

a round

t he

i nterlaced s quares o f t he f rame a re a lmost e ntirely m odern. T he

n aively

g round ,

e xecuted

a gainst

f igures

w hich

v iewed f rontally ,

t he

a re

f lesh

o utlines s hows

i n

b lack

w hite .

t esserae

A pollo

s its

b ut w ith h is k nees d irected t o t he r ight .

o n a t

t he t he

H e

b uff l eft ,

s upports

t he c ithara o n h is k nees, s teadying i t w ith h is l eft h and a s h e p lays i t w ith h is r ight . H e i s s itting o n a r ock s eat i ndicated b y t hree t iers o f u ndulating

r ed

l ines .

M arsyas

s tands

f luting a t

t he

r ight

u pon a b lack

g round-line , h is l eft l eg r aised i n a s triding p osture . h eld h igh a bove h is h ead a nd h e t urns t o A pollo a s h e p lays .

T he f lutes a re H e i s c learly

b eardless a nd , m ore u nusually , w all-painting c at . n o . I .

a ppears

i n

S mith

i n :

v iewed

f rom

b ehind ,

a s

h e

t he

B oth c haracters h ave r ed h air. 4 th c entury A .D . A .

R ivet ,

T he R oman V illa i n B ritain ( 1969)

f ig .

3 .

3 1;

D .J .

M unby a nd M . H enig ( Eds .) R oman L ife a nd A rt i n B ritain ( 1977) b ,

n o .

5 5

f . ;

1 25 ; R .J .

( Appendix .) ,

T he C ontest: 1 5

P . J ohnson .

' Romano-British M osaics ' ,

L ing,

S easons

' The

i n

B ritannia X IV ( 1983) 2 0 ,

6 ,

J . x x

S hire A rchaeology ( 1982)

R omano-British p ls .

1 42 ,p1 .

mosaic

p avements ',

V a -c .

S culptural R elief

P alazzo d ei C onservatori , R ome ; i nv . 2 401 . R elief s lab f ound a t S . N icola i n C arcere ( Forum H olitorium) . R estored f rom f ragments; t here a re t races o f c olour .

N eo-Attic w ork .

1 22

9 0 x 7 3 .08 c m . M arble .

S tanding o n a l edge ,

a pparently p art o f t he s urrounding f rame a re ,

t he l eft, A pollo a nd, a t t he r ight, M arsyas, w hose T he g od i s o f a f ine s culptural A pollo C itharoedus f lowing c hiton , p laying h is

h is w eight b raced u pon h is

i nstrument .

t he l eft,

a way f rom M arsyas . h im

i n

l eft l eg ;

c learly h e

H is b ody i s v iewed f rontally ,

m irroring

p osture

T he M arsyas w ho s tands

i s,

i n

s tylistic

t erms ,

a t

f eet a re n ow m issing . t ype , w earing a l ong , i s

s till

h is f ace t urned t o b eside h im ,

q uite

d ifferent .

t hough T he

s atyr - h e t oo i s f inely c arved - h olds a f lute i n e ither h and , b ut d oes n ot p lay , a lthough t hat i n h is r ight h and i s r aised t o h is m outh . H is h ead i s w reathed w ith i vy . T he c arving s eems t o r epresent a n e clectic c ombination o f m odels f rom d ifferent s ources . C ertainly t he A pollo i s n ot f ar r emoved f rom t he A pollo P atroos

o f E uphranor ( 3rd

1 /4

a nd v aried i n R oman t imes .

o f

t he

4 th c entury B .C .) ,

e xtensively c opied

M arsyas ' p roportions a nd t he m odelling o f h is

b ody a ppear t o r efer m ore t o l ate 5 th o r e arly 4 th c entury B .C . w ork . 2 nd 2 1 -o . f t he i st c entury A .D ., o r p erhaps e arly H adrianic. M .

C agiano d e A zevedo ,

13 f . ;

i d . ,

1 668.

-

1 6

C om _ptes-Rendues d es S eances d e l 'Academie V II ( 1942)

B ullComm L XXI ( 1945) 4 7-56 & pl . ;

S teuben i n H elbig

4,

I I n o .

P alazzo d ei C onservatori , R ome ; T wo f ragments o f a r elief , i nv . ms . 9 63 .6 a nd 5 .2325 . P entelic m arble , u nrestored . F ound i n a l ate w all n ear a ) b )

S . C lemente ( Via L abicana) .

4 9 x 6 0 c m . 5 0 x 3 1 c m .

a ) T he l arger f ragment,

e vidently f orming t he l eft-hand e nd o f t he r elief .

A t t he e xtreme l eft s tands M arsyas, s een i n l eft p rofile .

A lthough much o f

t he m iddle p ortion o f h is b ody , t ogether w ith h is a rms, i s m issing , i t s eems t hat h is r ight e lbow r ested u pon t he s hort

s tele w hich i s

s et b efore h im ,

i ts t op d raped . B y Marsyas ' r ight s houlder t here s tands a t ree ( he i s c learly n ot b ound t o i t) , a nd t o t he r ight o f t his , magnificently e nthroned , a s tately f emale f igure , n ow h eadless; s he may b e C ybele . o n t his f ragment,

h ead a nd l egs m issing ,

T he f inal f igure

f emale a nd c lad i n a s hort

t unic ,

i s l ikely t o b e A rtemis. T here a re t races o f s hallow-relief a rchitecture i n t he b ackground. b )

T he r ight-hand e nd o f t he r elief ;

i t i s i mpossible t o t ell h ow m uch m ay

b e missing w ith t he l ost m iddle p ortion . t he l eft,

a re v isible b ehind h is l eft t high . l ast

T he n ude t orso o f A pollo i s a t

t he c ithara s et b eside h im o n a s hort c olumn ;

f igure ,

a n a dult male

f olds o f a c loak

A t t he e xtreme r ight o f t he r elief t he

i n e astern t unic a nd

l eggings,

w ith h ead n ow

m issing , i s l ikely t o b e t he S cythian e xecutioner , n eatly c ounterbalancing M arsyas a t t he e xtreme l eft ; b ehind a nd t o t he l eft o f t his f igure , a t ree . T he c ombination o f t rees a nd a rchitectural e lements may s ignify a s antuary s etting. L ate F lavian t o H adrianic a t t he l atest ;

l ate i st t o e arly 2 nd c entury

A. D. H adaczek ,

3 24;

H .

S tuart

J ones,

1 23

T he S culptures o f t he P alazzo d ei

C onservatori L IMC I I,

1 7

1 ,

( 1926) 8 2 ,p1 .

2 9 ;

H . S teuben i n H elbig4 ,

I I ,

n o .

1 513 ( 328 f . ) ;

4 28 n o. 4 73.

P .

L ocation - ; o nce P awlowsk ; a m arble a sh-chest f rom t he L yde-Browne C ollection . D imensions - . A f rieze-like c omposition ; t he t op e dge o f t he p ictorial f ield f orms a c onvex c urve . D escribed f rom a d rawing b y J ordan . T he f eatures a nd p roportions o f t he f igures s uggest n aive, p erhaps p rovincial w orkmanship. O n t he c entral a xis , a n o rnamental u rn c apped w ith a w reath a nd f lanked

b y a p air o f r ecumbent g ryphons . B ehind s tands A thena , h er r ight h and t o h er m outh , p erhaps i n a g esture o f c oncern f or M arsyas , w ho s tands t o t he l eft , b lowing t he f lutes a nd v iewed f rom t he f ront . T he f inal f igure a t t he l eft, s lightly dwarfed i n o rder t o b e a ccommodated w ithin t he d iminishing p ictorial f ield , i s C ybele . S he i s s eated , p erhaps o n t he b ack o f t he l ion w hose f orequarters a ppear b eside h er k nees , a nd h olds u p h er l eft h and t owards M arsyas; i n h er r ight h and s he h olds a n o utsize t ympanon . T o t he r ight o f t he c entral A thena s tands H ermes , f ollowed b y A pollo , s eated l ike C ybele , b ut o f m uch l arger s ize . H e w atches t he s cene t o t he l eft, h is l eft a rm d raped o ver t he c ithara p ropped b eside h im . T o t he e xtreme r ight i s s et a c olumn o n w hich r ests a g lobe; i n f ront o f t his, A pollo 's r aven ( ?). F lavian . L . S tephan4 D ie A ntikensammlung z u P awlosswk ( 1872) L IMC I I, 1 , p . 4 27 n o. 4 62 c .

V III a

H adrianic.

I X a

E arly 2 nd q uarter o f t he 2 nd c entury A .D .

X I c

A .D .

1 50 - 1 70/80.

X II b

A .D .

1 50 - 1 70/80.

X III b

L ate 2 nd c entury A .D .

X IV a

L ate 2 nd t o e arly 3 rd c entury A .D .

1 8

V atican , c m . ( fig.

2 6 ,

n o .

4 5 ,

p l .

1 b ;

( ?).

c rypt o f t he B asilica ,

R ome .

M arble r elief s lab .

9 0 x 5 4

1 7).

T he s lab i s r ectangular ; h owever , a n i nner f ramework o f c alices a nd t endrils c reates t wo r oughly c ircular p ictorial f ields .

a

( Above )

A t t he l eft s tands M arsyas ;

b ut h e c arries n o f lutes . b eside

h im,

A pollo

h is f eatures a re c learly s atyric ,

H is h ead i s t urned t o t he r ight w here , d irectly

s tands .

T he

g od,

1 24

c ompletely

n ude,

s tands

i n

a

n onchalant

d 6hanch6

p ose,

v iewed

f rom

t he

f ront ;

w eight a nd h is l eft i s c rossed b efore i t . c ithara

s et

b eside h im,

s tretches o ut t o t he l eft,

while h is

h is

r ight

l eg

b ears h is

A pollo 's l eft e lbow r ests o n t he

r ight

h and,

h olding

o verlapping M arsyas ' t highs .

o f t he two p rotagonists a ppears a t hird,

t he

p lectron,

B etween t he h eads

d isembodied h ead;

a pparently

f emale , t his m ay b e N ike? A bove ,

t o l eft a nd r ight,

a nd o utside t he l eafy i nner f rame , a ppear t wo

M uses o bserving w ith o bvious i nterest t he main s cene . b elow ,

t wo f urther M uses,

T o l eft a nd r ight ,

i dentifiable t hrough t heir a ttributes a s T halia

a nd M elpomene.

b )

( Below)

l eaning t his

A s econd f igure o f A pollo, i n a n a lmost i dentical p osture, t ime u pon a t ripod ,

w ith a g ryphon b eside h im .

O utside

t he

f oliage f rame, t wo m ore g ryphons a nd t wo p utti. T he f oliage i s a lso i nhabited b y f our b irds. S everan ( Vermeule). R einach , 9 3 ,

9 4 ;

1 9

R Rel I II ,

3 54 ,

C .C . V ermeule ,

V atican ,

G iardino

1 ,

2 ;

P . G usman ,

l 'Art d 6coratif ( 1914) I I ,

R oman D ecorative A rt

d ella

P igna ,

p erhaps f rom a n e nd p anel.

( 1981)

R ome .

n os .

1 5 ,

p ls .

9 3-94 .

S arcophagus

f ragment,

5 2 x 3 7 c m .

A pollo s its u pon a r ock a t t he l eft,

s upporting w ith h is l eft h and t he

l yre , w hich r ests o n h is u praised l eft t high .

A t t he f oot o f t he r ock , a t

t he l eft , as eated g ryphon . A pollo , who i s h olding a p lectron i n h is r ight h and, b ut a pparently n ot p laying, f aces t o t he r ight. H ere, a ll t hat r emains o f M arsyas a re t he r aised t ips o f t wo f lutes a nd t he t railing e nd o f t he s atyr 's n ebris . T hat t hese t wo t races a ppear t ogether i s s ignificant : t hey i ndicate t hat M arsyas w as n ot s imply s tationary , n or w as h e m erely p rogressing t o t he l eft o r r ight ; h e m ust h ave b een s hown t wisting r ound t owards A pollo w hilst f luting . E nd o f t he 2 nd t o e arly 3 rd c entury A .D . R obert, A SR I II,

2 65, n o. 2 10.

X V b

A .D . 2 00 - 2 10.

X VI b

E arlier 3 rd c entury A .D .

X VII

E arlier 3 rd c entury A .D .

X VIII b A .D . 2 20 - 2 30.

2 0

P alazzo

S forza

C esarini

o n t he

C orso,

R ome .

s arcophagus f rom G enzano ( side p anels: g ryphons) .

F ront

p anel

o f

a

5 7 x 1 86 c m .

I n t he c entre, a r oundel c ontaining a f emale p ortrait b ust; b eneath t his, a d iminutive y outhful f igure ( a s atyr?).

1 25

A t

t he

e xtreme

y outhful s atyr, t hyrsos .

l eft

s tands

B acchus,

l eaning

o n t he s houlder o f a

b ehind whom t here i s a t ree;

B acchus may h ave h eld a

A t t heir f eet , ad og o r s mall p anther .

N ext , a M use w ho h olds a

r oll, p robably o ne o f t he l iterary M uses .

B eside h er , M arsyas, w ho s trides

a way t owards t he r ight, b lowing t he f lutes ( right a rm m issing) . b ackground b etween M arsyas a nd t he M use t here i s a ( spruce?) t ree ; g round b etween h is f eet, h eld i n h er r ight h and,

a b asket a nd y edum .

A rtemis,

a nd a ccompanied b y t wo d ogs,

I n t he o n t he

w ith a g reat t orch

s tands

t o t he

r ight ,

a djacent t o t he c entral r oundel. T o t he r ight o f t he r oundel , b earing a p alm f rond ;

a nd e merging f rom b ehind i t, a w inged N ike

s he i s m oving

h im b y t wo f urther Muses,

t owards A pollo ,

b ut i s

s eparated f rom

t he o ne o n t he l eft a nd s lightly t o t he f ore

c arrying a l arge p air o f f lutes, a nd t herefore i dentifiable a s E uterpe . A pollo ,

s houlders

g esturing t owards

a nd

r ight

M arsyas

t high d raped

c ithara r ests o n a s hort g arlanded r ight o f t he s cene s tands A thena . T his

c omposition

a ppears

t o

n umber o f o ther c ontest s cenes: o r s upporters o f A pollo ,

b y a c loak ,

s its

w ith t he p lectron h eld i n h is c olumn t o

c onfuse

t he

s ome

o f

r ight .

t he

o n a r ock s eat

r ight h and . A t

T he

t he e xtreme

a lliances

s een

i n a

h ere E uterpe a nd A thena a ppear a s p artisans

a nd A rtemis s ides w ith M arsyas .

B ut c f . E uterpe

n ear A pollo o n X IX b . A .D . 2 20 - 2 30. R obert, A SR I I, 2 63 n o . 2 09; W egner, 1 15, p ls . 1 40 c , 1 48; d ionysischen S arkophage ( 1968-75) 7 0; i ncluded i n c hart

F . M atz, D ie o f w orkshop

c onnections,

J dI 9 3 ( 1978)

3 51, f ig.

2 1

A A ( 1977) 4 32-36 a nd i n K och - S ichtermann ,

2 63 ;

1 5. --

M us .

G regoriano P rofano ,

V atican ;

R ome .

t he m id-section o f a f ront p anel? A pollo i s s eated f rontally , n ow m issing,

f ragment :

f rom

h is l eft l eg 'r aised s omewhat, h is r ight l eg

a s i s h is r ight a rm ,

t owards t he l eft .

S arcophagus

7 4 x5 1 c m .

A c loak h angs

a lthough i t i s c lear b oth w ere e xtended f rom h is s houlders .

c ithara r ests o n a g lobe s upported i n a t ripod . a ppears t o t he l eft b ehind A pollo 's s houlder ,

T o t he r ight ,

t he

A rtemis c arrying a t orch

a d iminutive N ike b ehind h is

h ead. A ccording t o R obert, p erhaps a r eplica o f A SR I II, n os. 2 01 - 2 03. A .D .

2 60 - 2 70 ( AA ,

b elow) ;

c onceivably a l ittle e arlier ;

i st t o 2 nd

q uarter o f t he 3 rd c entury A .D .

R aoul

R ochette ,

S chöne ,

M onuments i ngdits

M üller-Wieseler ,

1 13 2 05 ;

o f w orkshop c onnections,

2 2

( 1833) 4 21,

p l . 4 7,

3 ;

D ie a ntiken B ildwerke d es L ateranischen M useums R obert,

A SR I II ,

A A ( 1977) 4 32-36 ;

2 57 n o .

2 04 ;

0 . B enndorf a nd P . ( 1867)

3 3

i ncluded

n o .

4 75 ;

i n s urvey

D AIR 7 1 .1744 .

M ounted h igh o n t he g able o f t he w est f acade o f t he A bbey C hurch o f F arfa , L azio . R elief f ragment, p ossibly f rom t he f ront p anel o f a s arcophagus ; i t h as b een e rroneously j uxtaposed w ith a f ragment o f a n

1 26

u nrelated a rcaded s arcophagus p anel . c m .

l ong .

( fig.

P reserved p ortion : a pprox . 7 0

P oor c ondition .

1 6).

D eep-cut r elief; s tocky, w ell-modelled f igures.

A t t he l eft,

M arsyas ( head a nd r ight l eg m issing)

r ight a nd s till p laying t he f lutes, T he f lutes

t hemselves a re n ot

s triding t owards

t he

t o j udge f rom t he p osture o f h is a rms .

p reserved .

B eside

M arsyas

i s

A pollo

( head

m issing) w ho w ears a t unic a nd s upports a l yre o r c ithara w ith h is l eft a rm , t he p lectron h eld i n h is s tepping

t owards

t he

r ight

r ight,

h and

a t

h ip

l evel .

H e

t oo

o r b racing h imself o n h is

u nidentifiable b earded f igure h olding

s ome

r ounded

a ppears

t o b e

l eft l eg .

o bject

( ?)

A n

f aces

t he

r ight, where, t erminating t he f ragment, B acchus s tands, l eaning o n t he s houlder o f a y outh ( torso o nly) ;

t hese t hree m ay c orrespond t o t he B acchic

t rio f ound o n a n umber o f s arcophagi ,

n ormally c omprising B acchus,

a y outh

o r y oung s atyr, a nd a n o lder, b earded s ilenos. 2 nd t o 3 rd q uarter o f t he 3 rd c entury A .D .? A pparently n ot p ublished .

Ia m g rateful t o D r . H . J ung f or c onfirming t he

l ikelihood o f a M arsyas i nterpretation f or t his p iece , n ot p reviously k nown t o h im ( 27.7.85).

2 3

H istorisches

M useum

d er

P falz,

S peyer .

P ortion

o f

r elief

f rom a l arge g rave monument f ound a t B ierbach, n ear S t . C ommon s tone , much e roded c ondition .

f rieze

I ngbert.

T he M arsyas s ection i s ab lock

i n two f ragments: 6 0 x 1 38 ( x 1 30) cm . O riginal d imensions o f b locks: 6 0 x 1 47 c m" t herefore t he M arsyas s cene i s more o r l ess c omplete. A pollo s its a t t he l eft , a pparently p laying o n a n i nverted c ithara ( as o n s arcophagus X I c ; s ee p . 1 4) . T hen c ome ( reading f rom l eft t o r ight) : a s tanding b earded ( ?) a nd b are-chested male f igure ; a s eated f emale w ith a p lumed h ead-dress, l eft e lbow r esting o n a s hield - p robably A thena ; M arsyas ( close t o t he c entral a xis) , ( left

a rm m issing) ;

l eft ;

a s tanding

N ike

f emale

p acing t owards t he l eft a nd b lowing t he f lutes

c arrying a p alm f igure ,

p erhaps

r ight h and r aised t owards h er h ead, C ompanion f rieze :

f igures

r ecorded

H erakles a nd H esione ;

a s

f rond , a M use ;

a lso

m oving

a s eated

t owards

f emale

t he

f igure ,

p erhaps H era o r L eto . b eing

s hown o n f urther

p ortions

H erakles c ombatting t he l ion ,

o f

t he

a nd C erberus ;

D iana a nd A cteon . 2 nd - 3 rd c entury A .D .? Westdeutsches Z eitschrift

X I

( 1892) 9 4 f f; R einach, R Rel

I I,

8 4,

5 ;

S prater ,

E in r ömisches G rabdenkmal v on B ierbach 2 ( 1947) ;

E sp6randieu V ,

4 485 ;

K lumbach ,

1 ,

I I,

H .

B onnJbb 1 58 ( 1958)

2 , p . 3 51.

X IX b

M id t o l ater 3 rd c entury A .D .

X X b

M id t o l ater 3 rd c entury A .D .

1 27

1 83-191;

L IMC I I ,

p .

4 55 n o .

F . n o .

5 84 ;

X XI c

A .D .

2 90 - 3 00.

T he C ontest: G ems 2 4

G öttingen .

I ntaglio,

n icolo

p aste .

1 .08

x 1 .21

c m .

B adly d amaged. P erhaps

a t hree-figure g rouping?

A t

t he l eft a re p reserved t he h ead

a nd s houlders o f a n u nidentifiable f igure .

A pollo a ppears

i n t he m iddle ,

v iewed f rontally , h is l eft k nee r aised i n a f amilar p ose . P erhaps t races o f t he l yre a re v isible . M arsyas s talks a way f rom A pollo t owards t he r ight . T o j udge f rom t he p osition o f h is a rms, h e i s s till p laying t he f lutes. T he f igures a re s et o n ag round-line. i st c entury A .D . A GDS I II, G öttingen, n o. 7 1.

2 5

H annover, i nv . E dges c hipped . ( fig. 7 ). A t

t he l eft

K 4 22 .

I ntaglio,

r ed

s tands a f ine f igure o f M arsyas ,

h is w eight o n h is r ight l eg ; h e w ears a n ebris . g reat

f lutes ,

o ne

i n e ach h and ;

i nstrument a re v isible .

t hat

e ven

t he

v iewed f rontally ,

M arsyas .

c m .

b earing

H e h olds a t h is s ides t wo

i ndividual

l ocated t o t he r ight .

f inger-valves

T he g od ,

s tands b earing h is w eight o n h is l eft l eg ,

o f

1 .68 x 1 .38

o f

t he

H is h ead , t hough d amaged , c an b e s een t o h ave b een

t urned t owards A pollo , t unic ,

j asper .

A l yre i s h eld i n h is l eft h and ,

r eaches o ut t owards M arsyas.

d ressed

i n a p ose

i n a l ong

t hat m irrors

w hile h is

r ight h and

B etween t he t wo i s s et a n a ltar.

i st t o 2 nd c entury A .D . A GDS I V, H annover, n o.

2 6

1 551

C onques ( Auvergne . ) .

( 'Man a nd w oman ').

I ntaglio c arnelian s et i nto t he s tatue-

r eliquary o f S te . F oi ( 9th c entury A .D . , i ncorporating a 5 th c entury A .D . R oman s tatue h ead) ; l eft s ide . S quat o void f ield, a pprox . 1 .5 c m . m ax.

A pollo s its o n a r ock a t t he l eft,

f acing r ight .

b efore h im t o s upport a l yre r esting a t h is f eet. M arsyas,

f acing A pollo a nd b lowing t he f lutes .

a f lute-case ( ?). I mperial ? O bserved i n s itu.

1 28

O ne a rm r eaches o ut A t t he r ight s tands

B ehind h im , o n t he g round ,

T he C ontest: G ems; 2 7 a

B erlin , F .

t he l ast P hase: D espondent M arsyas 6 833.

I ntaglio, c arnelian .

1 .32 x 1 .13 c m .

( fig. 2 5). M arsyas ,

f ully b earded a nd w ith c learly v isible s atyr e ars a nd t ail ,

i s

s eated o n t he g round w ith h is l egs c rossed b efore h im . H e i s v iewed f rontally . H e c ontemplates t he t wo f lutes h e h olds b efore h im , o ne i n e ither h and.

O n t he g round t o h is r ight l ies a f lute-case.

M id i st c entury B .C. F urtwängler, G SB n o. 6 833; A GDS I I ( Berlin) 1 47 n o. 3 77.

2 7 b

M unich.

I ntaglio, c arnelian .

1 .29 x 0 .94 c m .

A s 2 7 a . i st c entury B .C . A GDS I , 2 ( München) 7 4 n o. 9 93.

2 7 c

C abinet d es M gdailles , P aris . I ntaglio, c arnelian r ingstone.

B abelon , C hapelle 1 .4 x 1 .2 c m .

n o .

19 .

A s 2 7 a . i st c entury B .C. E .C .

B abelon ,

( ?).

C ollection P auvert d e l a C hapelle , i ntailles e t c amges ( 1899)

4 7, p l. V III.

2 8 a

B erlin , S mlg. S tosch.

I ntaglio, b lack j asper.

D ia.

1 .5 c m .

( fig. 2 0). F inely e xecuted w ork :

( description o f i mpression )

Ay outhful ,

M arsyas s its o n a n a nimal s kin ( ?) s pread o n t he g round .

b eardless

H e i s v iewed i n

r ight p rofile a nd h is a nkles a re c rossed . H is l eft e lbow r ests u pon h is r ight f ore-arm, h is l eft h and c upping h is c hin . B ehind h is k nees, a nd r esting a t ad iagonal, a p air o f f lutes, b ell-end u ppermost. R epublican . F urtwängler, A G P l. X XVIII, n o. 5 . T hree s imilar g ems: B erlin F 3 998-4000. D ia. c .

B rown p aste.

1 .1 c m .

i st c entury B .C . t o i st c entury A .D . F urtwängler, G SB n os. 3 998-4000.

1 29

2 8 b

B ritish M useum , L ondon .

T wo p aste c ameos ; W alters n os . 3 892

( 2.0 x 2 .1 c m .) a nd 3 893 ( 1.7 x 1 .8 c m .) A s

2 8 a ;

t he s eat o f t he s atyr i s a l ittle h igher ,

s pread o n a r ock.

c omposed o f a s kin

T he m odelling i s a l ittle c ruder.

i st c entury B .C . t o i st c entury A .D . W alters, p l. X XXVII, n os. 3 892 a nd 3 893.

2 8 c

H annover, i nv . K 1 786 . D amaged c ondition .

I ntaglio,

g lass

p aste .

1 .6

x 1 .0

c m .

( fig. 2 2). P oor w orkmanship . p rofile .

M arsyas s its o n a l umpy s tylised r ock , s een i n r ight

H is p ose i s a s 2 8 b ;

p osition a s b efore ,

t he f lutes a re c learly v isible i n t he s ame

b ut n ow a t ree h as b een s upplied a t t he r ight ,

a gainst

w hich t hey l ean . i st c entury B .C . A GDS I V ( Hannover) n o. 2 92.

2 9 a

M unich, A 6 84.

I ntaglio g emstone.

1 .76 x 1 .81 c m .

( fig. 2 4). F ine workmanship:

( description o f

i mpression ) M arsyas, v iewed t hree

q uarters l eft p rofile , s its o n a n a nimal s kin s pread o n t he g round . H e i s f ully b earded a nd h as a s atyr t ail . T o t he l eft, a n o verhanging t ree , f rom w hich h angs a s yrinx ;

t he b ranches b ear a l ittle

l eafy f oliage .

A gainst

t he t runk o f t he t ree l eans a p air o f f lutes.

h is

T he p ose o f M arsyas i s u nlike t hat o f t he s atyr o n g ems t ype 2 8 . H ere , l eft f ore-arm i s d raped o ver h is k nee , w hile h is r ight h and g rips t he

l eft u pper a rm . i st c entury B .C .

( ?).

A GDS 1 -2 ( cont.) ( München) n o.

2 9 b

N aples, i nv.?

1 389.

I ntaglio, n icolo p aste.

1 .5 x 1 .85 c m .

( Description o f i mpression ) .

M arsyas,

w ith b alding f orehead ,

a s 2 9 a . T he t ree i s o nly i ndicated c ursorily , a lthough f lutes a ppear i n t he s ame r elative p ositions a s b efore. i st c entury B .C.

t he

d epicted

s yrinx

a nd

( ?).

RMB I , 5 3 , 2 ; F urtwängler , A G p l . X LII n o . 5 6 . =D AIR 5 036 ( no . C ades C ollection o f g em i mpressions, S äflund, 7 5 f ig. 1 6.

1 30

3 ) o f t he

2 9 c

L ocation . c m .

I ntaglio,

s quat

o void f ield ,

m ax . a pprox .

1 . 1 .

A s 2 9 a , b ut n o s yrinx h anging f rom t he t ree. i st c entury B .C. ( ?). = D AIR 5 036 ( no . 2 ) o f t he C ades C ollection o f g em i mpressions, f ig.

S äflund ,

7 5

1 6.

2 9 d

B ritish M useum , p aste.

L ondon .

W alters n o .

3 890 .

I ntaglio ,

b lack

1 .7 x 1 .8 c m .

( Description o f i mpression) b earded f ace t o t he f ore .

Marsyas i s

s een i n l eft p rofile,

H e s its o n a n a nimal s kin ;

a p air o f

f lutes

h is i s

i n h is o utstretched l eft h and. i st c entury B .C . ( ?) . =D AIR 5 036 ( no . 7 5 f ig.

2 9 e

1 ) o f t he C ades C ollection o f i mpressions o f g ems,

S äflund ,

1 6.

B raunschweig.

I ntaglio, c arnelian .

0 .96 x 1 .11 c m .

A pparently a c oarse r eproduction o f t he t ype o f c omposition s een i n 2 9 a a nd b ; M arsyas i s s een i n l eft p rofile, b eardless; b y h is f eet, a s yrinx. i st c entury A .D . A GDS I II ( Braunschweig) n o. 9 8.

T ransitional: M arsyas p leading a nd l ed t o e xecution : M osaics 3 0

A rchaeological

Museum,

O ran ( Algeria) .

f rom P ortus M agnus, n ear S t. L eu . A n i ndividual f ramed f rieze-like d ecorative p avement .

s cene

P olychrome m osaic f rom

a much

l arger

L ength o f M arsyas s ection : a pprox . 3 m .

( fig. 3 1). M arsyas ,

c lad i n a n a nimal s kin ,

i s h ustled t owards a t ree a t t he l eft

b y a c haracter i n e astern d ress, h is e xecutioner, n o d oubt; e xecutioner 's l eft h and i s p laced o n M arsyas ' t railing l eft f ore-arm ,

t he h is

r ight h and o n t he s atyr's h ead. N ike ,

b earing a p alm-frond ,

t he l eft o f A pollo .

s tands o n t he c entral a xis,

i mmediately t o

T he g od w ears a l ong c loak a nd a h ead-dress f ormed o f

r ays ( ?) . H is l eft h and s upports a l arge c ithara o n a c olumn t o t he r ight . T he f inal f igure o n t he r ight, y outhful , a nd a lso d ressed i n a v ariety o f e astern c ostume, h olds a f lute i n e ach h and; h e i s p robably O lympos. C ompanion s cenes: B acchic f igures, t he c apture o f C heiron b y H erakles, s ea c reatures.

1 31

4 th c entury A .D .

( Dunbabin).

C . R obert, ' Das Mosaik v on P ortus Magnus ', J dI V ( 1890) 2 15 f f., p ls. 4 -6 . F .-G . D e P acht k-e , I nventaire d es m osaiques d e l a G aule e t d e 1 9 i frique I II : A lggrie ( 1911) n o . 4 54; R einach, R P 3 1, 1 ; D unbabin ( supra p . 1 22 n o . 1 3) 4 1,

p l . V II ,

3 1

c at .

S t . L eu 1 ( a)

-T riclinium .

N ea P aphos, C yprus. C hantier d e M aloutena - t he H ouse o f A ion . P olychrome mosaic p anel w ith a c able b order . 1 .92 x 1 .31 m . T he b ottom o f t he p anel i s d amaged . ( fig. 2 9). O ne o f f ive p anels f orming a c omplex a llegorical p rogramme . S ophisticated e xecution, w ith a r ich p alette o f c olours. T owards t he l eft i s M arsyas, w earing a n a nimal-skin t unic ; h e f aces m ore

o r l ess d irectly t o t he f ront, h e h ad a n e xpression o f

b ut h is h ead i s t urned a l ittle t o t he r ight ;

d espair .

H is

r ight

a rm

p asses

i n f ront o f h is

b ody a nd h e t akes a p ace t o t he l eft ; h is l eft a rm i s g ripped b y o ne o f t he two S cythians who f lank h im . T he S cythian t o t he r ight o f Marsyas, b esides h olding h is l eft a rm , h as h is r ight h and t o M arsays ' h ead , p erhaps g ripping h is h air, a nd t urns t o l ook t owards A pollo a t t he r ight. c ounterpart a nd

t o t he l eft o f M arsyas h as h is l eft h and

a k nife

i n h is

o utstretched

r ight

h and .

t o

t he

T ogether t he

s atyr 's t wo

v igorously p ropel M arsyas t owards t he t ree a t t he e xtreme l eft, h is e xecution .

S cythians

t he s ite o f

B oth S cythians a re d ressed i n s hort t unics , a pparently w orn

i n c onjunction w ith l eggings . r eads:II KY '( )A I i nscription

H is h and ,

A bove t he r ight-hand S cythian a n i nscription

,p resumbably r eferring t o b oth ; a bove Marsyas i s t he

A A APt .YA C .

.

T o t he r ight o f t his g roup s tands a f ully d raped f emale f igure , h er l eft e lbow l eaning o n a s hort c olumn , h er h ead g arlanded a nd h er r ight h and r aised u p , p alm o utwards ; s he i s i dentified b y t he i nscription F I AAN I 1 p robably s he i s a p ersonification o f ' error ' , c omment o n M arsyas ' l ack o f w isdom i n c hallenging A pollo . T he f inal f igure a t t he r ight i s am ajestic s eated A pollo ( Af l OAAG , W) : h is l eft h and h olds a l aurel ( ?) b ranch a nd r ests o n t op o f t he c ithara w hich i s s et a longside t he g od o n h is d rum-like s eat .

A pollo i s f ully c lad

i n a l ong c hiton w ith a r obe o ver h is l eft s houlder ; h is h ead i s w reathed , w ith a n imbus b ehind i t . H is b ody i s s hown i n t hree q uarter v iew , f acing a l ittle t o t he l eft, while h is g aze i s f ocused o n Marsyas, p oints,

h is

r ight

a rm

O lympos (0AY ME IO L ) ;

o utstretched .

I n

t he

t o whom h e

mid-foreground

i s

a lthough h is l egs a re m issing b elow t he t high i t i s

p ossible t o t ell t hat h e w as k neeling o r h alf-seated , w ith h is l eft k nee f orward a nd h is r ight l eg e xtended b ehind h im; h is l ower b ody a nd l eft s houlder a re d raped a nd h e w ears a P hrygian c ap . H e r eaches o ut h is h ands i mploringly t o A pollo ; o n t he g round b etween t hem l ie t he d iscarded f lutes . T he g round i s d ifferentiated b y a s lightly d ifferent h ue ,

a nd t here i s

s ome e vidence a round A pollo 's f eet o f c ast s hadow . T here i s n o b ackground d etail a nd t he o nly i ndication o f t he l andscape s etting i s t he p unishment t ree a nd t he p lants g rowing a round i ts b ase. C ompanion s cenes:

1 32

T o t he l eft, a B acchic p rocession . c ontest b etween C assiopeia ,

A bove,

c rowned v ictor

t he major s cene,

b y K risis

t he b eauty

( ' judgement ')

a nd

t he

N ereiids, w ho a re c arried o ff b y m arine p ersonifications, i n t he p resence o f A ion ( 'time e ternal ') a nd K airos ( 'the h appy moment ') . l eft , t his

L eda a nd t he s wan , s cene ,

t he r iver g od E urotas,

A bove a nd t o t he

a n a ltar .

t he i nfant B acchus p resented f or e ducation

T ropheus a nd t he n ymphs o f M ount N ysa ,

T o t he r ight o f

t o

t he o ld

i n t he p resence o f N ectar ,

s ilenos A mbrosia

a nd T heogonia. 2 nd q uarter o f t he 4 th c entury A .D . D r . W .A . D aszewski, i n R eports o f t he D epartment o f A ntiquities, C yprus ( 1984) 3 05 f f., p l. L XIX f ig. 2 ; i d., D ionysos d er E rlöser ( 1985).

T ransitional: S arcophagus X I e

A .D .

1 50 - 1 70/80.

T ransitional: G em 3 2

B erlin , F 1371 . i ntaglio d esign .

A p lectron o f m oss-green p lasma , w ith a n 3 .57 x 3 .70 c m ( height o f p icture a rea :

1 .48 c m .) T he f igures s tand o n ag round-line . p air o f

f lutes

l ean a gainst

t he

A l eafy t ree s tands a t t he l eft ; a

t runk .

A t

t he

f oot

o f

t he

t ree M arsyas

k neels i n a basement b efore A pollo, who s tands a t t he r ight. Marsyas, b earded a nd s tretching o ut h is r ight h and i n s upplication , i s d ressed i n l ong e astern c lothes - u nusual , b ut a n a cceptable r ationalisation o f h is P hrygian o rigins,

p erhaps a c onflation o f

p leading c aptive b arbarian ( see p .

M arsyas

w ith

t he

s chema o f

t he

4 1) .

A pollo r ests h is l eft e lbow o n h is l yre , w hich i s i n t urn s upported b y a s hort c olumn ; h e g estures t o t he h unched M arsyas w ith t he p lectron h eld i n h is r ight h and. i st c entury A .D . A GDS

I I

( Berlin )

n o .

( 1971) 1 48 ; L IMC I I,

4 68 ;

D .

M etzler ,

A rchiv f ur Musikwissenshcaft X XVIII

1 , p . 4 29 n o. 4 75 ( 'Olympos').

M arsyas B ound: P aintings 3 3

D estroyed . l eft

f rom

O riginally , p rothyron),

f rieze P ompeii

o n t he I X

2 ,

s outh wall 1 6

( Domus

o f T .

r oom b ( room D entati

( ?)

P antherae). T wo i ndividual s cenes f rom o ne f rieze , e xecuted u pon a v iolet g round . D escribed f rom 1 867 d rawings . a ) ( Left ; f ig . 3 2) 1 8 x 1 00 c m . ( Reading f rom t he l eft :) M arsyas b ears h is w eight o n h is l eft l eg , h is r ight f oot d rawn b ack s lightly . H is a rms a re p inioned b ehind h is b ack t o a s tout t ree t runk, a gainst w hich l ean t he f lutes; a t h is f eet, a b undle a nd a wreath .

1 33

H e f aces t owards t he n ext

f igure ,

t he S cythian e xecutioner .

O n t he g round b etween t he t wo t here i s a

b lock ( the s harpening s tone) d raped w ith f abric . r ight

h and

m otioning

t owards

A pollo

a t

h olding t he f laying k nife a t h is s ide . a c loak,

k neels

s upplication .

a t

t he

f eet

o f

t he

T he S cythian s tands,

e xtreme

r ight,

h is

h is

l eft h and

O lympos , h is s houlders d raped w ith

A pollo,

h is

a rms

r eaching

o ut

i n

C learly h e i s p leading f or h is master 's l ife, w hile t he

S cythian i s i mpatient t o b egin h is t ask . A pollo s its u nmoved, h is l ap d raped a nd h is t orso b are . H is l eft a rm r ests o n t he c ithara a t h is s ide ; h is

r ight h and i s l aid u pon t he t op o f h is h ead .

A t h is

b ack ,

b alancing

t he t ree o f M arsyas, a l arge t ripod. b

( Right) 1 8 x 9 8 c m .

T entatively i dentified b y S chefold a s O restes a nd

P lylades i n T auris, a fter R einach , R P 1 70 ,

5 .

C ompositionally t his s ection o f t he f rieze f orms a n a ppropriate p endant f or 3 3 a ; t he b ound f igure a ppears a t t he e xtreme r ight , t he b ound M arsyas a t t he l eft o f t he a djacent s cene. ( Reading f rom t he l eft :) v eiled ,

T hree f emale f igures,

a ll w ith l eft h and t o f ace ,

B ehind t his g roup, t wo c olumns. b owl .

t o

t he s econd s eated a nd

p erhaps a c onventional g esture o f g rief . O n t he c entral a xis, a l arge, s hallow

T o t he r ight o f c entre t here i s a n o rnamental b asis o n w hich s its a

n aked y outh , h is b ody d irected t owards t he l eft . t o

c orresponding

H is h ead , h owever ,

l ook b ack o ver h is s houlder t o r egard t he f inal,

a lso s its o n a b asis, h is l egs c rossed a t b ehind h is b ack t o a t hird c olumn .

b earded ,

f igure .

t urns H e

t he a nkle a nd h is h ands s ecured

A gainst a n i nterpretation a s O restes a nd P ylades t wo f actors s tand o ut: i n t he f irst p lace , w hen O restes a nd P ylades o ccur t ogether a s c aptives , m ore u sually t hey a re b oth b ound ; s econdly , t hey a re n ormally r epresented a s c oevals, n ot a s m an a nd b oy , ac ombination a ppropriate t o t he M arsyas s tory. G rieving M uses ( Marsyas f ound s everal a llies a mongst t heir n umber) w ould n ot b e o ut o f p lace . H owever , h e d oes n ot a ppear e lsewhere s hackled t o a c olumn , w hich w ould s eem t o i ndicate a n i nterior s etting . T he p ainter s eems e ither t o h ave c hosen t o v ary h is r epertoire b y p resenting a n a lternative v ersion o f t his p hase o f t he M arsyas s tory , p erhaps b ased o n t he p re-Roman t radition i n which Marsyas s ometimes a ppears s eated ( seldom r evived i n R oman a rt; s ee p . 4 4 f .), o r c onceivably t o h ave a rrived a t a c onflation o f t he M arsyas a nd O restes s tories . C ompanion p ictures f rom t he f rieze: D eath o f P elias, a nd n ymphs .

B acchus-herm w ith c ult o bjects ( north w all) ;

B acchus-child

B acchus a s e phebe a nd n ymphs ( east? w all - w est w all a ccording

t o S chefold ; m isprint?) ; k ing , y outh w ith P hrygian c ap a nd a h untress, t wo h unters w ith h ounds ( west w all).

( Paris,

A bsyrtos?)

T hird S tyle: S chefold: c a . A .D . 4 0 . N ot i n B astet - D e V os; h owever , t he r oom c ontains s ome d ecorative f eatures i n c ommon w ith B astet 's a )

B dI ( 1867)

p hase 1 67

I I

;H elbig ,

P ompeji ( 1962) p l . 4 4, d rawing). b )

H elbig,

P n o .

b ( A .D .

1 401

4 ;

3 5

-4 5) .

pn o . 2 31 c ;

LikC I I,

S chefold ,

W P 2 42 ;

1 , p . 4 05 n o . 2 94;

b ( 1) a nd p l.

1 34

1 9;

R einach, R P

i d" V ergessenes

D AIR W 3 56

1 70,

( 1867

5 ( 'Oreste e t

P ylade... s ujet t res d outeux '); S chefold, W P 2 42. 3 4

M us . N az .

N aples ,

i nv .

9 539 .

P ainting f rom H erculaneum .

1 5 x 4 9

c m . ( fig. 3 4). F rieze-like c omposition w ith p ainted b order ; b lack g round . A pollo s its o n a s tool a t t he l eft , s tringed c ithara a t h is s ide .

p olychrome f igures

o n

h is l eft a rm r esting o n t he f our-

H is r ight h and h olds a p lectron .

L ike t he

f emale f igure w ho s tands b ehind h im a nd s lightly t o t he r ight , h is h ead i s w reathed .

S he h olds i n h er h ands a g arland a nd t urns t owards t he g od .

O lympos h as d ropped o n o ne k nee b efore A pollo ; h is c hlamys b illows b ehind h im, a s i f h e h as o nly j ust a ssumed t his p osition , a nd h is h ands a re s tretched f orward i mploringly . T o t he r ight s tands t he S cythian e xecutioner , t he f laying k nife i n h is r ight h and . O n t he g round b etween h im a nd t he b ound M arsyas l ies a b lock a gainst w hich a re p ropped t he f lutes . M arsyas f aces l eft, h is r ight l eg c rossed b efore t he w eight-bearing l eft . T he t ree a t t he r ight , t o w hich h e i s b ound , i s s tark a nd l eafless . H e w ears t he n ebris, t railing f rom h is l eft a rm . C olours: A pollo 's r obes, white; t hose o f t he f emale b eside h im, r eddish ; O lympos ' P hrygian c ap i s r ed a nd h is c hlamys y ellow ; t he e xecutioner t oo h as a r ed P hrygian c ap , g rey-yellow c loak a nd y ellow s hoes .

t ogether w ith a g reenish c hiton ,

a

C ompanion p ainting: O restes a n&Pylades i n T auris: H elbig, P n o. 1 334; N aples i nv . 9 538. ' Neronian '

( Schefold)

S tyle a nd t echnique v ery s imilar t o t he s cene o f A pollo v ictorious o ver P ython i n P ompeii V I 1 5 , 1( Casa d ei V ettii) , e ast w all o f t he l arge o ecus ( q ) , l eft-hand p inax . P dE I I,

1 9, p .

R einach , R P 3 0 ,

1 25 ; H elbig, P n o . 2 31 b ; H errmann-Bruckmann p l . 5 ; C urtius,

3 . § « . 9 f "

f ig .

2 17 ;

S chefold ,

1 17,

2 ;

W P 3 50 ; L IMC I I ,

1 ,

P . 4 05 n o . 2 91; I I , 2 , p . 3 19. I I a

F ourth S tyle ; p robably V epasianic.

I II b

F ourth S tyle ; V espasianic?

M arsyas B ound: S tucco R eliefs I V c

c a . A .D . 2 5.

Vb

A ntonine ( ?).

M arsyas B ound: M osaic 3 5

M us. N az . R omano, R ome . I nv . 5 9 .585 . C entral p anel o f a l ate a ntique S eason m osaic p avement f rom t he V ia A ppia N uova . T otal :

1 35

3 .12 x 3 .53 m . ;

M arsyas p anel ,

T here i s n o D AIR p hoto ;

t he

S oprintendenza

n ot a ble t o s upply a p hoto, c onservation ,

i t

1 .00 x 1 . 00 m a pprox . a lle A ntichitä R oma a re

a nd s ince t he mosaic

i s u ndergoing

i s n ot a vailable f or p hotography .

C onsequently

I

a m u nable t o c onfirm t he d etails g iven b elow . T he m osaic i s p olychrome ;

t he f igures a ppear a gainst a w hite g round ,

w ith a p attern o f s tylised f oliage .

A pollo i s s eated a t t he l eft, f acing t owards t he r ight ; h e h olds a p alm b ranch i n h is r ight h and a nd i s n ude , s ave f or a P hrygian c ap - p erhaps a c onflation w ith O rpheus?

M arsyas s tands b ound t o a t ree a t t he r ight ;

h is

f lesh t one i s d arker t han t hat o f A pollo . L ate 4 th t o 5 th c entury A .D . E . P aribeni ,

L e T erme d i D iocleziano e I l M useo N azionale R omano' ( 1932) n o .

1 23;

B lake,

M .L.

i ndistinguishable) ; H elbig 4 I II ,

1 54 n o .

MAAR S .

XVII

( 1940)

A urigemma ,

1 01,

p l.

2 0,

T erme d i D iocleziano

7

( virtually

( 1963) n o .

4 99 ;

2 246 ( ' perhaps A pollo a nd M arsyas ') .

M arsyas B ound: S culptural R elief 3 6

V atican

M useums ,

R ome ,

g arland s arcophagus .

A t

t he

s lightly . i s

l eft

s tands

C hiaramonti

4 04 .

F ragmentary p anel

f rom

a

3 6 x 4 5 c m .

M arsyas,

v iewed

f rontally ,

h is

l egs

b raced

a part

H is a rms a re f ixed b ehind h is b ack t o a s pruce t eee a nd h is h ead

p ivoted

t owards

t he r ight.

A t ree b ranch t o t he l eft

o f M arsyas

s upports t he n ebris; f rom a b ranch t o t he r ight h and t he d ouble f lutes ( crossed) . T he S cythian e xecutioner s tands a t t he r ight, g lancing a cross a t M arsyas . H is l eft a nd r ight h ands, e ach h olding s ome s mall o bject ( ?) a re c lose t ogether a t w aist l evel , w hile h is r ight e lbow i s r aised . H e a ppears t o b e u nsheathing t he k nife. T he t wo f igures

s tand o n a g round-line .

r ocky o utcrop, o n w hich i s p laced a b lock, A .D .

B etween t hem

t here i s a l ow

t he s harpening s tone.

1 50 - 1 70/80.

M üller-Wieseler ,

1 1 3, 4 90 ,

p l .

4 1;

R obert,

A SR I II ,

2 46 n o .

1 97 ;

n o .

7 7

i n

t he l ist o f g arland s arcophagi, K och-Sichtermann , 2 31; D AIR 7 1.1736.

x i D

A .D .

3 7

1 50 - 1 70/80.

N ational M useum , B udapest .

R ight e nd p anel o f a s arcophagus f ound i n

1 881 i n t he R oman n ecropolis a t A quincum . 5 8 x 1 31 cm . S tone; c oarse w ork , e xecuted i n f airly s hallow r elief . T he u pper t hird o f t he p anel i s d estroyed . A t ree i s l ocated a t t he l eft ; v iewed

f rontally a nd s tands

F acing h im ,

t o

i ts

M arsyas, r ight .

a nd c rouching a t h is f eet,

1 36

h is h ands f ixed b ehind h im , H is

a nkles

a re

i s

b ound

t ogether .

a S cythian k nife-grinder ,

g lancing

b ack o ver h is s houlder t o A pollo a t t he r ight . f rontally ;

T he g od ,

t oo ,

i s p resented

h is r ight h and r eaches a cross h is b ody t o t ouch t he s trings o f a

c ithara b alanced o n a s hort c olumn a t t he r ight. O n t he f ront

p anel :

t wo m en i n n iches ;

o n t he l eft e nd p anel :

O restes

a nd P ylades b efore I phigenia. L ate 2 nd c entury A .D. S chön a nd W eisshäupl,

( ?).

A rchaeologische-epigraphische

O sterreich-Ungarn X ( 1886) 16 f . ;

J . H ampel ,

M itteilungen a us

B udapest R egiesegei

I II ( 1891)

5 1; R obert, A SR I II, 2 67 n o. 2 15, f ig. 2 15. 3 8

L ocation -

.

O n t he a rt market

f ragment ; s arcophagus D imensions -

e nd

p anel?

i n R ome i n - f airly

1 912 .

s hallow

M arble r elief

r elief

c arving .

( fig. 3 6).

Marsyas

( his h ead

s lightly b owed

a pparently w reathed)

t ree t runk .

H e f aces

b ehind h is b ack t o t he t ree .

t owards

s tands

t he l eft,

t o

t he

l eft

h is h ands

H e i s s hown i n a d istinctive,

t wisted p osture , w hich r eveals h is b ack a cross l egs a re m issing b elow m id-thigh l evel .

o f

a

t ethered s lightly

t he s houlder-blades .

T he

T races o f a f raming r elief b order a t t he r ight i ndicate t hat t he f igure t erminated t he r ight e nd o f a s cene. 2 nd c entury A .D . D AIR 6 8 .4040;

( ?).

I am g rateful t o D r . H . J ung f or d rawing t his p iece t o my

a ttention .

3 9

B ordeaux

M useum

( L 'Hotel

d u

l a

B ourse) .

F ragmentary

f ound 1 921, R ue d u P ont-de-la-Mousque .

s tone

5 0 x 1 10 cm .

b lock ,

M utilated

c ondition . F ound w ith n umerous s culptural f ragments, a n a ltar ,

c olumn b ases a nd

o ther a rchitectural f ragments : f rom a m onument? A t t he l eft, t he h ead a nd s houlders o f a s mall f igure , a r obe d escending f rom

t he

l eft

s houlder ;

p erhaps

O lympos .

H e

i s

p artially o bscured

b y

a

t ree t o t he r ight, with a p air o f c rossed f lutes t ied t o o ne o f i ts b ranches . T o t he r ight o f t he t ree a ppears t he h ead a nd u pper b ody o f a l arger f igure, r ight;

b earded, s een i n t hree-quarter v iew, f acing t owards t he

t o j udge f rom t he h eight d ifferential b etween t his a nd t he p receding

f igure ,

a nd a lso t he t races o f a f inal f igure ,

c orner ,

M arsyas w as s tanding .

a rcing c urve o f a r obe ,

p erhaps t he s houlder o f a s eated A pollo?

i n l ow r elief i n t he b ackground , T he

s urviving

r ight

p reserved i n t he l ower r ight

A ll t hat r emains o f t his l ast f igure i s t he

a rm o f

D epicted

a n a ltar o r b uilding . t he M arsyas

f igure p asses b ehind h is b ack ,

i mplying t hat h e w as b ound t o t he t ree b efore w hich h e i s l ocated. 2 nd t o 3 rd c entury A .D .?

1 37

E spgrandieu, I X , 4 0

L ost .

2 10 n o. 6 937 ( 'Apollo a nd M arsyas?').

E nd p anel o f a s arcophagus .

t he V illa A ltieri , R ome .

I n t he t ime o f W inckelmann a t

D escription o nly .

T here w ere s hown : M arsyas b ound , A pollo a nd a S cythian k nife-grinder ; w hether s tanding o r s eated f igures o f M arsyas a nd A pollo w ere u sed i s n ot

s pecified .

J . W inckelmann, Monument a ntichi i nediti ( 1767) 5 0; J . O verbeck , G riechische K unstmythologie ( 1871-89) A tlas , 4 56 , n o . 1 2 ; R obert , A SR I II , 2 66, n o. 2 13 ( 'may h ave b een s imilar t o n o. 2 15' - h ere c at. n o. 3 7) 7C f . a lso r elief f ragment c at . n o . 5 7 ;

s mall b ound M arsyas s upporting l yre o f

a s tatue o f A pollo, c at. n o. 9 3.

M arsyas B ound: M etalwork 4 1

V arious c ollections :

a s eries o f c ontorniates ;

c oarsely f igured a nd

n ot w ell c ast . a )

C abinet d es M gdailles, P aris. A n ude

M arsyas

s tands

D imensions -

f rontally ,

l ocated a t t he c entre .

a rms

b ound

b ehind h im

t o a t ree ;

C rouching t o t he r ight i s a S cythian g rinder

( not a woman a s i llustrated i n S abatier),

l ooking b ack o ver h is

s houlder t owards M arsyas . T he f igure s eated o n a r ock a t t he l eft, f acing M arsyas, i s s lightly l arger t han t he o ther t wo . T his f igure i s d rawn a nd d escribed a s b eing f emale ; n o c ithara i s s hown , a nd s o A pollo i s u nlikely , a lthough h is p resence m ight b e e xpected . T he f ull-length r obes s uggest a g oddess o r M use ; h er l eft h and i s b rought u p t o

h er f ace .

M id i st t o e arlier 2 nd c entury A .D . J . S abatier , D escription g gngral d es m gdailles c ontorniates p l. 1 9 n o. 9 . b )

M ünzkabinett, B erlin s taatl.

M useen.

( 1860)

1 24-125 ,

D imensions -

A s 4 1 a ; M arsyas i s d rawn a s s tanding i n l eft p rofile. H . H eydemann ,

' Pariser A ntiken ' ,

1 2te H allisches W inckelmannsprogramm ( 1887)

9 -10, f ig . p . 5 . c )

M useo C ivico, F orli; d imensions ;

D AIR 6 2.163 n os.

s imilar t o a /b.

3 4-36; 6 2.175 n o. 6 9; W eiss, 3 8 n o. 4 5.

M arsyas B ound: G ems 4 2 a

B erlin, F 1 404.

I ntaglio, p aste.

( Description o f i mpression :)

M arsyas ,

1 38

1 .7 x 1 .3 c m. w ith s atyr-features,

b ut n o t ail ,

s tands

w ith h is

s lightly ;

w eight b orne

o n h is

r ight

l eg ,

h is a rms a re p inioned b ehind h im .

i n t hree-quarter r ear v iew, s houlder .

h is

H e i s

l eft f acing

f oot

d rawn b ack

t he r ight,

s een

w ith h is h ead l ooking b ack o ver h is r ight

T he f lutes l ie b efore h im o n t he g round ,

b ut t here i s n o t ree .

i st c entury B .C . t o i st c entury A .D . F urtwängler, G SB

4 2 b

8 3, n o.

B erlin ( Smlg . r ing .

1 404.

P anofka) F 4 152 .

I ntaglio ,

p aste ,

s et

i n a n a ntique

1 .8 x 1 . 1.

A s 4 2 a , b ut n o f lutes s hown . i st c entury B .C. t o i st c entury A .D . F urtwängler, G SB 1 74, n o. 4 152.

4 3

Mus.

N az .

I ntaglio ,

N aples.

I nv .

c arnelian .

3 .9

2 6051

x 3 .3 .

( formerly

Medici

c ollection) .

c m .

I nscribed: L AUR .MED V ery h igh ( Imperial?) q uality. ( fig. 3 7). M arsyas s its o n a r ock a t t he l eft, l eft .

s een i n t hree-quarter v iew ,

f acing

H is r ight k nee i s r aised , a nd o ver t he t high i s t urned a s ection o f

t he p anther s kin u pon which h e s its;

b ehind,

t he f lutes a re v isible,

l eaning a sA .f r esting a gainst t he s ide o f t he p icture-field .

Marsyas '

h ands a re s ecured b ehind h is b ack t o ab are t ree , f rom a b ranch o f w hich , t o t he r ight, h angs a f lute-case .

A pollo i s s tanding a t t he r ight,

h is r ight

t high d raped w ith a r obe . I n h is l eft h and h e h olds t he c ithara , i n h is r ight, t he p lectron . P resented f rontally, h e t urns h is h ead a l ittle t owards t he s atyr . B etween t he t wo m ain f igures t here k neels a v ery s mall , n ude O lympos,

a ppealing w ith u praised h ands t o A pollo .

( Description o f i mpression). A ugustan . F urtwängler, A G p l . X LII, 2 8 ;

M-L . V ollenweider, D ie S teinschneidkunst

u nd i hre K ünstler i n s pätrepublikanischer u nd a ugusteischer Z eit 14, p ls. 6 3-64. 4 4 a

R ichter, E GR n o. 2 51; L IMC I I,

M unich, A 8 50.

I ntaglio, p aste.

( 1966)

6 1,

1 , p . 4 28 n o. 4 74.

0 .83 x 0 .72 c m .

( Description o f i mpression) A pollo s its o n a r ock a t t he l eft, l yre s upported o n h is l ap , h is r ight h and r esting b y h is s ide .

H e f aces t o t he

r ight, w here M arsyas s tands, b ound t o at ree a t h is b ack. i st c entury B .C. t o i st c entury A .D . A GDS 1 -2 ( München) n o. 4 4 b

M unich .

1 388; L IMC I I,

I ntaglio ,

o val

1 , p . 4 28 n o. 4 66 a .

r ingstone ,

c m .

1 39

g lass

p aste .

1 . 15

x 1 . 02

A s 4 4 a . A GDS 1 -3 ( München) n o. 3 233; L IMC I I,

4 4 c

Munich .

1 ,

4 28 n o. 4 66 b .

P .

I ntaglio, g lass p aste ( imit. s ardonyx) 1 .2 x 1 .08

c m . A s 4 4 a . A GDS 1 -3 ( München) n o. 3 234; L IMC I I,

1 , p . 4 28 n o. 4 66 c .

M arsyas H anging: C eramic R elief 4 5

Musge

d e

L ezoux .

m edallions . o n

t he

F ragments

o f

G allo-Roman

c eramic

r elief

M ainly f rom a c eramic w orkshop o f t he T rajanic p eriod

R oute

d e

medallions c a .

M aringues,

L ezoux .

O riginal

d iameter

o f

t he

1 4 c m .

( fig. 4 2). T he d escription i s o f a c omposite r econstruction o f t he o riginal f orm o f t he m edallions, b ased o n f ragments c oming f rom t he s ame m ould , b ut c ast o n d ifferent o ccasions .

T owards

t he

l eft

n aked a nd b earded ,

M arsyas

i s

h anging

h e f aces a l ittle t o t he r ight. e xecutioners ; o ne , g arbed i n l oose f olds ,

f rom a b owed

p ossessing s atyric f eatures ;

o ver

h auls o n t he r ope w hich t ethers M arsyas ' w rists

i dentified b y t he i nscription a longside: r ight

o f

t he

s cene

i s

i s

t o t he t ree .

T he

s harpening h is k nife o n a b lock ,

l ooking u p a t t he s uspended v ictim; h e s eems t o b e n aked .

t he

H e

O n t he l eft o f t he s cene a re two e astern c lothing w hich h angs i n many

s econd c rouches a t t he f eet o f t he f irst,

A t

t ree .

s een i n t hree-quarter v iew ,

T he t wo a re

S CYTHES.

a f ine s eated A pollo ,

o n a l arger s cale

t han t he o ther f igures ; h is t orso i s n ude , w hile h is l ower b ody a nd l egs a re s wathed

i n a f ull

r obe .

H e f aces t owards t he l eft,

b ody i n t hree-quarter v iew ; s tands o ver

b eside h im t he

p ositioned f rom

h is

l eft

o n a d ecorative

f ore-arm . n ear h is

I n c hin ,

t he h anging s atyr i s

i nscription O LIMPVS .

H e

e lbow

s upport ;

a g raceful t he

f irst

h is h ead i n p rofile ,

u pon

t he

a n e dge o f h is

g esture,

A pollo 's

f inger e xtended .

t he s mall f igure s teps

r ests

o f

c ithara r ight

h and

S eparating

O lympos,

w hich

r obe i s l ooped i s

t he g od

i dentified

b y

t he

t owards A pollo , h is f ace t urned u p t owards

t he g od a nd h is a rms e xtended i n s upplication .

H e a ppears n aked e xcept f or

t he c loak d raping h is s houlders a nd t urned o ver h is r ight f ore-arm . T hese f igures a re a ll r anged i n o r c lose f inal f igure ,

t o t he f oreground p lane ;

s maller a nd r aised u p h igher t han t he o thers ,

t he b ackground t o t he l eft o f A pollo . t orso ; h er r ight a rm w as e xtended , b ut

S he i s a w inged N ike , w ith a n ude t he l ower p art o f t his, w ith h er

h ead , h as s urvived o n n one o f t he f ragments s o f ar r ecovered . e merge f rom b ehind a s tylised i ndication o f A pollo 's h and h olding a s lender w and , T he f igures

t he

i s s tationed i n

S he s eems t o

t hrone-back ,

h er l eft

p erhaps a p alm .

i n t his m ain d esign a ppear a bove a g round-line c omposed o f

t wo s trips f raming a b and o f l attice p attern .

1 40

T he s mall f ield b eneath i s

o ccupied

b y

t wo

f lying N ikes w ho s upport b etween t hem a n o val

b earing t he l etters S UR o r S YA , p erhaps a p otter 's f ragmented m iddle p ortion o f M arsyas ' n ame .

c artouche

s ignature,

o r t he

T he d esign i s t hought t o h ave o riginated a t t he h ands o f t he L yonnais p otter F elix , w ho m ay h ave b egun w orking f irst d uring t he t ime o f N ero . T he e ntire m edallion w as e vidently r e-cast b y t he p otters o f L ezoux t o b e u sed t o f orm t he s ide-panels f or f lat-sided f lasks l ike c at . n o . 1 2 . S ections o f t hese medallions, p erhaps e ven t he whole d esign , were a lso a pplied t o c onvex b odied v ases ( e .g . B , b elow) . T he i ndividual f igures o f A pollo a nd O lympos a re f ound o n t erra s igillata f rom t he a teliers o f L a M adelaine a nd T rier , a nd a d ie-stamp o f t he A pollo f igure i s k nown f rom t he A llier V alley ( L ) . T he f ollowing p ieces a re a ll t hought t o s tem f rom t he o riginal ; t he l ettering c orresponds t o t he l ist i n A udin-Vertet ( below) , w here m ay b e f ound f ull b ibliography f or e ach p iece : A )

F ragment f rom a L yonnais a telier:

B )

P ortion o f m edallion a pplied S cythians, M arsyas, O lympos.

k neeling S cythian w ith i nscription .

t o v ase ( intact) f ound a t L isieux :

t wo

C ) -1 ‹ , ) a ll f rom L ezoux P art o f k neeling S cythian a nd i nscription .

D )

L egs o f M arsyas, t orso o f O lympos.

E ) T orso o f . S cythian , O lympos.

p arts o f s tanding e xecutioner ,

F ) -H ) A djoining f ragments w ith p arts o f A pollo , a rea b eneath t he g round-line . I )

A pollo a nd p art o f N ike.

J )

P art o f k neeling S cythian e n a pplique.

K )

L ost, d esign u nspecified ; e n a pplique.

l egs o f M arsyas a nd

N ike ,

O lympos a nd t he

( Five f urther e xamples o f i ndividual f igures a pplied t o v ases f rom L yons a nd L ezoux w ere ' not a vailable ' . ) L )

D ie-stamp f or t erra s igillata ,

n ow l ost ;

' found i n t he a teliers o f t he

V alley o f t he A llier '. M ) - P ) T he A pollo f igure o n s igillata f rom L a Madeleine a nd T rier ; H adrianic t o A ntonine p eriods. Q )

T he f igure o f M arsyas ,

A udin-Vertet R ) -h ere c at . n o . 4 6 - i s s urely a n

i ndependent c reation , o r s o e xtensively v aried a s t o b e r egarded a s s uch. T he o riginal r elief m edallion w as p robably c reated i n t he l ater i st c entury A .D . ; t he d esign was e xtensively r e-used d uring t he 2 nd c entury A .D . A .

A udin ,

H . V ertet ,

' Medallions d 'applique ä s ujets

1 41

r gligieux d es v allges

d u R höne

e t

d e

l 'Allier ' ,

G allia 3 0

( 1972) 2 35-246 .

L IMC I I ,

1 ,

4 56 n o .

P .

5 91. 4 6

S aalburg

M useum ,

f rom

S aalburg .

f orm 3 7 ( La M adeleine; M arsyas ,

v iewed

p otter:

f rontally ,

R elief

f igure

o n a S amian b owl ,

R eginus I ).

h angs

a gainst

a b ack-ground o f

f oliage .

A s i llustrated, h e a ppears b eardless. N ot s imply a r ecasting o f p art o f 4 5, a s A udin-Vertet ( p . 2 43) ; r eworked ,

t hen v ery s ubstantially s o ,

3 /4 t o f rontal v iew , o f

f oliage .

T he

i f

i nvolving r otation o f t he f igure f rom

r epositioning o f h ead , a rms a nd l egs , a nd t he a ddition

f igure h as

m ost

i n c ommon w ith

s culptural

t ypes

w here

M arsyas i s d isplayed a gainst a s pray o f f oliage . H adrianic. H . R icken , S aalburgjahrbuch V III ( 1934) p l. I X ,

1 ;

F . O swald, I ndex o f F igure T ypes ( 1936-37) n o. 7 2; H .

R icken,

D ie B ilderschüsseln d er r ömischer T öpfer v on R heinzabern ( 1963)

5 2, n o. M 9 3; A udin-Vertet ( supra p .

1 41 n o. 4 5) 2 42 f ig. 6 d ,

2 43.

M arsyas H anging: M osaics 4 7

M us . N az . R omano , R ome ; i nv . ? f rom t he V ia C ornelia ,

R ome .

C entral a rea o f am osaic p avement H eight o f s urviving p ortion o f f igure :

c a . 8 0 c m . E xecuted

i n

s urrounded f oliage,

b lack

t esserae

b y a t hick i nhabited

f rame

b y

o n

white

w ith a n

b irds;

i n

g round;

i nner

t he

o ne

t he

b order o f

d esign

was

i nter-twining

s urviving

c orner,

a s

r ecorded, a k antharos. M arsyas ( legs m issing b elow m id-thigh ) i s s een h anging i n r ight 3 /4 v iew f rom a s tout t ree t runk , o ne b ranch o f w hich p rojects t o t he r ight f rom b ehind h is c hest.

A s ingle l eafy t wig p asses o ver h is h ead.

L ater 2 nd c entury A .D .

( ?)

E . G atti, N Sc ( 1919) 5 7-59, f igs. 8 -9. S een i n M useum i n 1 979, b ut n ot l ocated i n H elbig 4 •

V I b

L ater 3 rd c entury A .D .

V II

E arly 4 th c entury A .D .

4 8

M usee

d e J a& i ,

o riginally

S pain .

f rom

?

S ubsidiary s cene o f a l ate R oman p avement,

S antisteban

d el

P uerto .

P rovincial w orkmanship , n aive f igures .

T otal:

8 x 3 .10

m .

D amaged .

A t t he l eft s tands a n e xecutioner w earing a t unic ,

h ooked k nife h eld i n

h is r ight h and, n ot f ar f rom a g ushing wound i n Marsyas ' r ight s ide . M arsyas h angs f rontally f rom a t ree i ndicated b y s tylised f oliage s howing a bove h is

h ead .

W avy l ines

d rawn d escending

r epresent a c loak .

1 42

f rom h is

l eft

s houlder m ay

A pollo s its a t

t he r ight o n a s ketchily d elineated b lock o r s tool ,

l eft t high d raped . h is

l eft h and ,

T he g od ,

e ndowed w ith a n imbus,

a p alm-frond i n h is

r ight .

T his

h is

h olds h is c ithara i n

p alm

i s g iven a dditional

s upport b y a s mall f emale f igure t o t he l eft o f A pollo ,

who w ears

f lowing

g arments , b racelets o n h er a rms , a nd a p rominent t hree-pointed h ead-dress o r d iadem . A pollo i s a pproached f rom t he r ight b y a l arger w inged N ike b earing a s econd p alm-frond , w ho r aises h er r ight h and o ver h is h ead, p erhaps h olding a w reath ( ?).

( damaged)

T he w hole o f M arsyas ' b ody a rea i s f illed w ith s olid d ark t one . I n l ine w ith c ertain ' red ' M arsyas f igures t his m ay h ave b een i ntended t o s how t hat h e h as a lready b een f layed. E xecuted i n b lack , r ed a nd w hite t esserae. L arger c ompanion :

A chilles o n S cyros.

L ate 4 th t o 5 th c entury A .D .

J . M .

B lazquez

f igs. 1 -2; p ls .

a nd

J .

G onzales

P . d e P alol i n

9 0-92 ;

J .M .

N arrete, A rchEsp

4 5-47

B lazquez ,

' Mosaicos

r omanos

d e

C ordoba ,

C orpus d e m osaicos d e E spa i lia I II ( 1981) 6 6 f f., n o.

M arsyas H anging: 4 9

( 19721974)

4 14

f f"

L a mosaique g reco-romaine I I ( 1975) 2 37 f f ., J agn y M alaga ' .

5 1, p ls. 5 9, 9 1.

S culptural R elief

M usge L apidaire , A rles . A n a ltar f ound M ay 1 823 p laced c entrally i n f ront o f t he s tage d uring e xcavations o f t he t heatre a t A rles. Y ellowed m arble . c m .

F ront p anel :

1 27 x 1 50 c m . ;

s ide p anels :

1 27 x 4 5

( fig. 4 3) a )

F ront p anel :

r elief ;

t wo b road p ilasters f lank a c entral p anel c arved i n h igh

e ach b ears a c arved l aurel

t wo b irds .

t ree ,

t o t he l eft h is u pper t orso f rontal . h is

t he u pper

b ranches

i nhabited

b y

I n t he c entral z one A pollo s its o n a s tool , h is k nees d irected

l eft a rm ,

n ow l argely m issing,

H is

r ight k nee

i s

r aised a l ittle ;

w as r aised o ver h is h ead ,

a nd h is l eft

e lbow l eans o n t he c ithara s et a t t he r ight . I n t he b ackground t o t he l eft i s c arved a g reat t ripod , a nd p erhaps t races o f a s econd t o t he r ight . T he h ead o f A pollo , b )

L eft p anel :

M arsyas h angs,

w hich w as c arved s eparately a nd i n-set,

i s m issing .

t here i s a b owed-over l eafy t ree o n t he r ight, f acing a l ittle t o t he l eft .

H e w ears t he n ebris .

f rom w hich A p air o f

f lutes i s t ied t o t he t ree t runk . c ) R ight p anel : r aised o n a p edestal , p erhaps t o h elp f ill t he p ictoral f ield , t here i s a k neeling S cythian k nife-grinder ( seen i n r ight p rofile) d ressed i n e astern c ostume . T he f ourth s ide i s b lank . A ugustan. E spgrandieu

I 17

n o .

1 38 ;

H .

S choppa ,

D ie K unst d er R ömerzeit i n G allien ,

G ermanien u nd B ritannien ( 1957) 5 0 , p ls . 2 7-28 ; 9 1; L IMC I I, 1 4 55 n o. 5 87, I II, 2 p . 3 52.

1 43

D .

S trong ,

R oman A rt ( 1976)

5 0

S taatl .

K unstslg .

D resden ;

A pollo s its a t t he l eft,

Z V 4 81 .

M arble

o scillum .

l ooking t owards t he r ight ,

D ia .

c a .

2 5

w here M arsyas ,

w ith

a s hort, s tocky b ody a nd l ong l egs, h angs f rom a b owed-over t ree . s atyr i s s een i n 3 /4 v iew ,

f acing A pollo .

T he • god 's

c m .

T he

r ight a rm i s h eld u p

o ver h is h ead ; h e s upports t he c ithara o n h is l eft t high ; h is r ight t high i s d raped w ith a n e dge o f t he c loak w hich d escends f rom h is s houlder. L ater i st c entury A .D . R einach, R Rel I I, 6 0, f ig . 4 0;

5 ;

( ?)

H . B runn, K leine S chriften I II ( 1906) 1 90-192,

W .H . S chuchhardt, D ie K unst d er G riechen ( 1940) 4 08, f ig . 3 67;

R obertson , 5 36 a nd n ote 8 7 ; F leischer ( supra p . 4 ; L IMC I I, 1 , p . 4 28 n o . 4 70 . C f. g em , c at. n o. 6 8; 5 1

R aab,

A ustria .

A rabona.

1 02 n ote

2 )

1 09 f f ;,

f ig .

a lmost i dentical d esign .

R elief

L ocal s tone;

f rieze a t

t he t op o f a g rave

d imensions n ot g iven.

A S cythian k nife-grinder ,

s een i n l eft

s tele

f rom

C oarse w ork ; d amaged.

p rofile ,

w orks

a t

t he

l eft .

T o h is r ight h angs a f rontal M arsyas . O lympos , h is c hlamys f lying o ut b ehind , p leads b efore A pollo , s eated a t t he e xtreme r ight a nd n ow m uch d isfigured. c a. A .D . A .

S chober ,

1 00.

D ie r ömischen G rabsteine v on N oricum u nd P annonien ( 1923) 6 3 n o .

1 38, f ig. 6 4.

V III a H adrianic.

I X a

E arly 2 nd q uarter o f t he 2 nd c entury A .D .

5 2

V atican Museums, R ome, G all. d ei C andelabri, i nv . 3 403 . p anels o n a t hree-sided c andelabrum b ase f rom O tricoli . m arble ; h eight o f p anels : b ackground ; w ork .

a )

c a . 3 5 c m .

s ome d etails i ncised .

R elief Whiter

S ubtle s hallow r elief o n p lain T reatment r eminiscent o f s tucco-

E clectic d esign .

A s pruce t ree a t t he l eft;

o verhanging b ranch ,

h is f ace ,

Marsyas h angs b y t he wrists f rom a n

f ull o f s uffering ,

t urned t o t he f ore .

H alf-

way u p t he t ree t runk , t he f lutes a re s uspended. O lympos s tands a t t he r ight, f acing h is m aster . H e w ears a P hrygian c ap a nd h olds t he h em o f h is c hlamys t o h is f ace . b ) A pollo s its o n a r ocky s eat a t t he r ight, a c orner o f t he r obe w hich co vers h is l ap d rawn u p o ver h is h ead b y h is r ight h and . W hile h is b ody i s p resented f acing a l ittle t o t he l eft, h is h ead i s t urned a way t o t he r ight . H e r ests h is l eft e lbow o n t he c ithara a t h is s ide o n t he r ight . c )

A n

u nconventional

v iew

vi ew, f acing t o t he r ight. l ower e dge o f a r ock o utcrop ;

o f

t he

e xecutioner ;

s een

f rom

b ehind

i n 3 /4

H is r ight f oot i s l ifted, s tepping o nto t he o n t op o f t his, a n o blong b lock .

1 44

T he f laying

k nife i s g rasped i n h is r ight h and , w hich h e e xtends b efore h im . t o h old a s taff i n h is l eft h and . I t e xecutioner , a s h ere , c ompletely n ude .

i s a lso u nusual

H e a ppears

t o f ind a s tanding

T aking M arsyas ( a ) a s t he c entral p anel , t he t hree m ay b e r ead i n t he o rder t hey o ccur o n t he c andelabrum t o f orm a c oherent c omposition : S cythian ( c) a t t he l eft, A pollo a t t he r ight ( b) . H owever , t he g od 's h ead i s t urned t o t he r ight, l eading t he e ye t owards t he a djacent p anel c , t he S cythian o nce m ore ; t hus t he d esign f unctions o ver a f ull 3 60 ° . c a. m id 2 nd c entury A .D . A melung,

I II ,

2 ,

( ?)

1 32 n o . 3 9 , p l . 6 1; V .H . S teuben i n H eibig4 1 , n o . 5 17;

L IMC I I, 1 , p . 4 1 n o. 3 40. H .-U . C ain, Mimische M armorkandelaber ; B eiträger z ur E rschliessung h ellenistischer u nd k aiserzeitlicher S kulptur u nd A rchitektur , B d . 7 ( 1985) P P. 1 02,

1 33,

1 83; n o. 9 7; B eil. 5 ,

1 4; p ls. 4 8 ( 2), 4 9 ( 1-3).

X I f

A .D .

1 50 - 1 70/80 .

X II a /c

A .D .

1 70/80 - 2 00.

X III c

L ate 2 nd c entury A .D .

( XIV b ?)

L ate 2 nd t o e arly 3 rd c entury A .D .

5 3

( ?).

M usge d es A ntiquitgs , B ordeaux .

Ac ircular c istern o f w hite m arble .

H eight : 6 6 c m . ; m ajor c ircumference 3 42 c m . F ifteen

f igures

i n a c ircular

f rieze ,

E roded c ondition .

w ithout

a pparent

d ivisions .

I nterpretations m ostly f ollowing E spgrandieu ( below ) .

A pollo a nd M arsyas a re e asily r ecognisable: A pollo, c lad i n a l ong c hiton , p lays t he c ithara, s tanding t o t he r ight o f Marsyas . Marsyas s tands f rontally , a rms a bove h is h ead i n t he s tandard h anging p osture ; h is a nkles a re s hackled ( no t ree i s v isible) ; a p air o f f lutes s tands o n t he g round t o t he l eft . T he n ext f igure t o t he l eft i s p robably n ot i nvolved i n t he M arsyas s cene ; s emi-nude , h is r ight h and r esting o n t op o f h is h ead , h e f aces away t o t he l eft; h e may h ave h eld a s taff i n h is l eft h and ( damaged) . E spgrandieu s uggests H ermes . S till r eading t o t he l eft , N ike c omes n ext , t ravelling t owards H erakles , w ho s tands w ith h is c lub a nd l ions kin . T hen , B acchus s upported o n t he s houlder o f a y outh , ' l i ebe o r J uno ' , af igure c arrying a b asket o n i ts h ead ( 'Ceres o r V ertumnus?')

3

W orking t o t he r ight f rom A pollo , t here c omes f irst a M use o r n ymph e merging f rom b ehind t he g od 's i nstrument, p robably a s pectator o f t he M arsyas

s cene .

N ext E spgrandieu g ives V enus,

f ollowed b y N eptune w ith a

s ea m onster - a m ore l ikely a lternative m ight b e H erakles r escuing H esione . F urther s till t o t he r ight c omes D iana w ith a h ound . T he t wo f inal f igures , a n ude m ale a nd a m ale w ith a b eard , r emain e nigmatic ; f or t he l atter, J upiter h as b een s uggested. 2 nd t o 3 rd c entury A .D .

( ?).

1 45

C . J ullian , R EA V II ( 1905) 1 55 ; E sperandieu , I I 1 35 n o. 1 076. X V c

A .D . 2 00 - 2 10.

X VI c

E arlier 3 rd c entury A .D .

X VIII c

A .D . 2 20 - 2 30.

5 4

V atican M useums , R ome , C hiaramonti 7 3 .

S arcophagus r elief f ragment .

D imensions - . A rmless f igure o f t he k nife-grinding S cythian , d ressed i n e astern c ostume a nd v iewed i n r ight p rofile . H is h ead i s r aised u p , p erhaps t o l ook a t t he n ow m issing M arsyas . I n p ose a nd c ostume , m ost c losely r esembles t he k nife-grinder o f X VI C a nd 5 5; t hus p erhaps i st h alf o f t he 3 rd c entury A .D . R obert, A SR I II , 2 58 n o. 2 06.

5 5

S . p aolo f uori l e M ura , R ome.

S arcophagus;

15 x 12 a t m .

T he f ront p anel b ears t he n ine M uses . A pollo a ppears o n b oth s ide p anels ; t he c ontext o f h is a ppearance o n t he l eft e nd i s h ardly o ne o f m ythological n arrative , a nd h ence i t c annot b e t aken , t ogether w ith t he r ight e nd p anel , t o f orm a c ycle o f a ny k ind . a )

L eft e nd p anel:

a longside ,

a t

p lays a l yre .

t he l eft,

A pollo,

s eated a nd

H e i s d ressed i n a l ong c hiton .

male f igures s tand b efore p hilosophical c onversazione?

h im,

o ne

y outhful,

t he

w ith

a g ryphon

T wo t oga-clad

o ther

b earded ;

a

b ) R ight e nd p anel : I n t he c entre , ap ine t ree f rom w hich M arsyas h angs ; t o t he r ight i s a S cythian w ho h auls o n a r ope w hich h olds h im t here , h is r ight l eg s et u p a nd b raced a gainst t he t runk t o t ake t he s train . A pollo s teps o ut t o t he l eft o f t he t ree, s till p laying h is l yre . H e i s n ude, s ave f or a l ight c loak h anging f rom h is l eft s houlder . I n t he l eft f oreground c rouches a S cythian k nife-grinder i n e astern d ress, g lancing u p a t M arsyas .

A t t he f oot o f t he t ree , a s mall g oat .

A .D . 2 30 - 2 40. R obert , A SR I II ,

2 66 n o .

2 12 ;

W egner ,

n o .

1 84 , p l . 1 36 a a nd b ; i ncluded i n

s urvey o f w orkshop c onnections: A A ( 1977) 4 32-36 .

5 6

M agyar N ezeti Museum

2 3 .1849 .1;

B udapest .

S arcophagus e nd p anel

( limestone) 7 5 x 1 06 c m . F ound i n 1 845 i n S zekszärd ( the o ld A lisca ) . F ront p anel d epicts A mor a nd P syche . T he g round o f t he r elief i s c oloured r ed.

A pollo i s s eated o n t he b ack o f a g ryphon a t t he l eft, h is l yre p oised o n t he b east 's h ead . H is b ody i s d irected s lightly t o t he l eft , h is r ight

1 46

f oot r aised o n a b lock . s wathes h is

A c loak d escends f rom h is l eft s houlder and

l eft k nee .

T he g od h olds a p lectron i n h is

h is c hest, a nd t urns h is h ead t owards t he r ight .

r ight

h and

b efore

T here , n ear t he middle o f

t he p anel , k neels a S cythian k nife-grinder i n e astern d ress, h is b ody v iewed i n l eft p rofile , r ight. M arsyas , p osture ,

while h is b ody a nd a rms a re s hown i n t he c ustomary

b ears h is w eight u pon h is r ight l eg ,

o n t he g round ; f orward . t he

l ooking b ack o ver h is l eft s houlder t owards M arsyas a t t he

h is

l eft l eg b ends a l ittle a t

t he k nee a nd h is h ead drops

M arsyas ' b ody t urns s omewhat t o t he l eft,

t ree

t o b e

s een b ehind h is b ack a t

' hanging '

t he f oot b eing p lanted f irmly

t he r ight;

a llowing

t he t runk o f

s ome f oliage ,

h owever ,

s preads b ehind M arsyas, t o e merge p ast h is c hest a t t he l eft. 3 rd c entury A .D .

( ?).

A JA X XXVII ( 1933) p l. 1 5, 1 ; R obert; A SR I II, 2 66 n o . 2 14; L . B arkozci, A rchErt I II , s er . 5 /6 ( 1944-45) 1 82 , 1 89 ; L IMC I I , 1 . p . 4 56 n o . 5 89 .

5 7

W ürzemburgisches L andesmuseum ,

S tuttgart ( formerly R ottenburg ,

S ülchgauer A ltertumsvereins) . R ottenburg ,

1 927 .

5 7 x 6 8 c m .

S andstone r elief

f ragment

R ight-hand p ortion o f a p anel .

A pollo s its f acing t he b roken a way p ortion o n t he l eft, r esting o n t he l yre a t h is s ide ; h is r ight k nee , B ehind h im ,

a nd t o t he

s pring n ymph ;

i s

t here r eclines

h is l eft e lbow

s lightly r aised ,

a f emale

f igure ,

i s d raped . p robably a

t he r ounded o bject b eneath h er l eft e lbow m ay b e a p itcher .

W ith h er r ight r ight , a t ree . I t

r ight,

S mlg . f ound

h and

b elieved

s he

v eils

t hat

t his

h erself .

C losing

f ragment

d erives

t he

f rom

c omposition

a t

a f laying

t he

s cene .

C ertainly i t e xhibits p arallels w ith t hose s cenes w hose i nterpretation i s b eyond d oubt. H anging Marsyas s cenes o ccasionally c ontain d eities o f l ocality ( c .f . X viii c ; X IX c h as t wo ,

o ne o f t hem a n ymph) .

S imply b ecause

s cenes w ith M arsyas h anging f ar o utnumber t hose i n w hich h e i s b ound , m ore l ikely t o b elong t o ah anging s cene .

H owever ,

5 7 i s

t wo b ound M arsyas w orks

f eature a n ymph ( V ba nd X c ) a nd s o t he q uestion o f which t radition i t m ight b elong t o must r emain o pen . 3 rd c entury A .D . F .

G össler,

( ?).

G ermania X V

( 1931)

1 63

a us S chwaben N F. V II ( 1932) 5 6, p l.

X IX c

M id t o l ater 3 rd c entury A .D .

X X c

M id t o l ater 3 rd c entury A .D .

X XI c

A .D . 2 90 - 3 00.

5 8

L ost .

R elief

W indsor V III .

3 3

f f.

1 3,

( sarcophagus

e nd

( 407) .

( fig. 3 8).

1 47

f ig .

1 ;

0 .

P aret,

F undberichte

2 .

p anel?) .

D rawing:

D al

P ozzo -

A pollo left a rm .

s tands

a t

t he

l eft

a nd v iewed

f rontally h olding

a l yre i n h is

H is r ight h and, i n which h e g rips t he p lectron, h angs b y h is

s ide ; h e t urns h is h ead t o t he r ight . I n t he c entre, p artly o bscured b y t he l eft l eg o f A pollo , t here c rouches a S cythian i n e astern d ress, v iewed i n r ight p rofile , h is g aze l ifted t owards M arsyas .

H owever , n o s harpening

s tone i s s hown , a nd t he S cythian s eems t o b e a pplying h is b lade t o M arsyas ' s hin ,

a s o n s arcophagus X II c a nd g em 6 1.

T he M arsyas-tree motif r elates

c losely t o t he s ame c ombination a s d epicted o n r elief 5 6.

R obert, A SR I II, C f .

a lso:

2 66 n o. 2 12'.

r elief f igure o f Marsyas a ppearing o n c ithara o f s culptural

A pollo, n os. 9 2, 9 4,

9 5.

M arsyas H anging: S tatuettes 5 9

M usee d u B ardo, T unis; C lay s tatuette.

i nv . 2 77.

D imensions -

H anging M arsyas, a ccompanied b y ak nife-grinding S cythian . I mperial. P . G auckler, C atalogue d u M usee A laoui ( 1897) S upplement I ,

6 0

V arious c ollections .

1 64.

S tatuettes a nd f igurines o f a s olitary

h anging M arsyas. a )

M us. N az. N aples; i n

-

F ragmentary i vory s tatuette. M ärysas H anging.

D imensions -

G reco-Roman ( ?). G . P esce, I tinerari d el M usei I taliani ( 1932) N apoli 4 7.

b )

M useo A rcheologico, F lorence; S mall

b ronze f igure ,

h eight

i nv . 8 5198. 1 5

c m .

F ound A rezzo ,

n ear t he

P iazza d elle P aniere. M arsyas H anging ; c oarse, b earded f eatures. i st t o 2 nd c entury A .D.

( ?).

G alli, p . 4 7, w ith i llustration . c )

A llard P ierson M useum , A msterdam . C lay s tatuette. D imensions - . M arsyas , w ith a n e xtremely l ong b eard , b ackground o f f oliage . M issing b elow w aist-level.

1 48

i s h anging b efore a r adiating

i st t o 2 nd c entury A .D . S chauenburg ( 1958) p late 3 7, d )

L ouvre, P aris.

( ?).

2 .

I nv. -

M arble s tatuette, f ound i n S yria, D imensions -

1 901.

.

H anging M arsyas;

l egs m issing b elow k nee, a rms a bove e lbows.

I mperial. R einach, R S I II, e )

1 9,

9 .

L ocation . O n t he i mplement . D imensions -

a rt market

i n

B asel

i n

1 970 .

B ronze

M arsyas h anging. I mperial ( ?). S chauenburg ( 1972) 3 17, n ote 1 . f )

B ritish Museum, L ondon . t able

s upport) .

H eight :

N o . 1 557 . 7 8 .8

H anging, b eardless M arsyas.

Marble s tatuette ( perhaps a

c m . L egs m issing.

I mperial ( ?). R einach,

R S

I II,

1 9,

5 ;

A .H .

S mith,

A C atalogue o f

S culptures i n t he

D epartment o f G reek a nd R oman A ntiquities, B ritish M useum ( 1904) I II, 2 0. S parta M useum . t own .

A b luish m arble s tatuette f ound i n t he n orth o f t he

A t able s upport .

H eight: 4 9 c m .

P oor l ocal w ork .

B ottom h alf o f a s tatuette o f M arsyas a gainst a t ree .

B oth f eet a re

p lanted o n t he g round , n ot u nusual i n h anging r epresentations w hen s tructural s trength i s r equired , a s h ere . O n e ither s ide o f t he t reetrunk h ands a f lute . I mperial. H .

D ressel

a nd A .

M ilchhöfer,

' Die a ntiken K unstwerke

U mgebung ' , A thMitt I I ( 1877) 3 93 f . , n o . 7 6 ; o f t he S parta M useum ( 1906) 1 60, n o. 2 84. h )

L ouvre, P aris.

M .

T od a nd A .

a us

S parta u nd

W ace ,

C atalogue

C atalogue S ommaire n o. 8 65.

S tatuette, b luish m arble.

D imensions -

T op h alf o f a M arsyas f igure , h anging f rom a t ree . h alf o f 6 0 g .

P robably t he t op

I mperial. D ressel-Milchhöfer

( supra

n o .

6 0 g ) n o .

1 49

6 7 ;

T od-Wace

( supra n o .

6 0 g )

1 60

f ig .

4 3 .

C f . a lso : L arge s cale s culptural c opies o f t he P ergamene h anging M arsyas s ee A ppendix A 69 i -xxii. M arsyas H anging: G ems ( Grouped a ccording t o c omposition). 6 1

B ritish M useum , L ondon .

W alters n o. 2 744.

I ntaglio, b rown p aste .

1 .5 x 1 .3 c m.

( Description o f t he

c entre ,

i mpression :)

M arsyas,

T he f igures

p resented

a lmost

f oliage r adiates f rom b ehind h im . g rips t he s atyr 's l eft l ower l eg ,

s tand

f rontally ,

T o t he

l eft ,

o n a g round-line .

h angs

f rom

a t ree

I n

w hose

a h alf-crouching S cythian

a pparently c ommencing t he f laying p rocess .

I n t he b ackground b ehind t his f igure s tands A pollo ( seen i n r ight p rofile) , s till p laying h is l yre . F lanking M arsyas o n t he r ight s ide t here i s af ully r obed w inged N ike ;

s he i s t urned a l ittle t o t he r ight ,

b ut h er f ace l ooks

a cross o n t he s cene a t t he l eft. S he c arries a f lute i n e ach h and, a h ighly u northodox f eature , a nd h er r obes a re g iven a n a rchaising d ecorative t reatment. T he

e ngraving

i s

o f

q uite

s ophisticated

e xecution a nd

t he d esign h as

s ome f eatures i n c ommon w ith t he s cenes a ppearing o n t wo r eliefs ( 55 b a nd 5 8). I mperial - o r s uspect? W alters, n o. 2 744, p l. X XX ; R ichter, E GR n o . 2 55 b is.

6 2

C abinet d es x

M gdailles,

P aris ;

n o .

4 457 .

I ntaglio , n icolo p aste .

1 . 2

1 .5 c m .

( Description

o f

i mpression :)

M arsyas

h angs

i n

r ight

p rofile

f rom

a

b owed t ree a t t he l eft; a t h is f eet, a nd f acing h im, a S cythian k nifeg rinder . T o t he r ight o f t his f igure c rouches O lympos , s imilarly d ressed i n e astern c ostume , w ho i s p leading b efore a n o versized A pollo . T he g od s its a t t he r ight o n a r ock s eat, f acing t owards Marsyas . T he l yre i s s upported b eside h im b y h is l eft a rm ; h is r ight a rm r ests o n h is l ap. I mperial. R ichter, E GR n o. 2 53.

6 3

B ritish M useum , L ondon.

W alters n o.

I ntaglio, r ock c rystal.

1 .2 x 1 .5 c m .

( Description o f i mpression :) l eft , A t

a b owed o ver t ree ;

h is f eet,

f acing h im ,

1 313.

T he f igures a re o n ag round-line .

M arsyas h angs

f rom

i t,

v iewed

a S cythian k nife-grinder .

i n

r ight

A t t he p rofile .

O n a r ock s eat a t

t he

r ight i s A pollo , h is l ower b ody d raped i n a mantle , h is l yre s upported o n t he r ock a t h is s ide . H e f aces Marsyas, a nd g estures a t h im w ith t he p lectron h eld i n h is o utstretched r ight h and . i st c entury A .D .

( ?).

1 50

W alters, n o. 6 4

1 313, p l. X IX ;

B erlin, F 8 393.

R ichter, E GR n o. 2 52.

I ntaglio, r ed j asper.

T he f igures a re o n ag round-line . b owed-over t ree ;

f rom i ts f urthest

s its o n a r ock a t t he r ight,

t ip ,

1 .30 x 1 .05 c m .

Marsyas h angs a t t he l eft f rom a t he f lutes a re s uspended .

B etween t hese c rouches a d iminutive f igure i n a P hrygian c ap , p rofile ,

A pollo

f acing l eft a nd s upporting t he l yre o n h is l ap . s een i n r ight

p robably t he S cythian k nife-grinder .

i st c entury A .D . A GDS I I ( Berlin) n o. 4 66; L IMC I I,

6 5

1 , p . 4 28 n o. 4 66e.

R eading, c ollection o f t he D uke o f Wellington, n o . 0 3022 . S ilchester .

I ntaglio ,

g lass p aste .

( Description o f i mpression :)

F rom

LO x 1 . 2 c m .

A pollo s its o n a r ock a t t he l eft ,

v iewed

i n r ight p rofile ; h e s upports a l yre o n h is k nee ; h is l ower b ody i s d raped a nd h is h air i s k notted b ehind . As mall M arsyas h angs f rom a n u pright t ree a t t he r ight;

h e i s s een i n t hree q uarter v iew , f acing l eft.

i st c entury B .C . M .

H enig ,

A C orpus o f R oman e ngraved G emstones f rom B ritish S ites I I ( 1974)

n o. 2 2; L IMC I I,

1 , p . 4 28 n o. 4 66d.

6 6 a -d

F 4 147-50 .

B erlin ,

F our f lat p aste i ntaglio g ems .

D imensions n ot

g iven . A pollo , p lectron .

l ower b ody c overed b y a c loak ,

s its a t t he r ight w ith l yre a nd

B efore h im , M arsyas h angs o n t he t ree.

i st c entury B .C. t o i st c entury A .D . F urtwgngler, G SB .

6 7

1 73.

B ritish M useum, L ondon.

W alters n o. 2 745.

I ntaglio, p aste i mitating s ardonyx. ( Description

o f

i mpression :)

l arge A pollo f igure i s

T he

1 .1. x 1 .3 c m .

f igures

s eated a t t he l eft

t he l yre o n h is l ap with h is l eft a rm .

( right

a re a rm

o n a g round-line . e roded) ;

h e

A

s upports

H e f aces t o t he r ight, where a

s quat f igure o f M arsyas h angs f rom a b owed t ree; h e i s v iewed f rontally. I mperial. R ichter, E GR n o.

6 8

2 54.

M unich, A 8 49. 1 .11 x 1 .05 c m . ( Description o f

I ntaglio, b lack g lass p aste. ( formerly S ig. B ergau, N ürnburg). i mpression :)

T he

1 51

f igures

s tand

o n a g round-line .

A pollo s its a t t he l eft , r eclining a l ittle , h is r ight f ore-arm t aken u p t o r est o n t op o f h is h ead . H is l eft a rm s upports t he l yre i n h is l ap . T he g od f aces t owards M arsyas w ho , v iewed i n l eft p rofile , h angs f rom a b owed t ree a t t he r ight. i st c entury B .C . t o i st c entury A .D . A GDS 1 -2 ( München) n o.

6 9

B erlin , F8 233. A t t he l eft ,

h e i s

1 387; L IMC I I, 1 , p . 4 28 n o . 4 70a .

I ntaglio, n icolo p aste.

a s mall ,

1 .74 x 1 .40 c m .

d oll-like M arsyas h angs f rom a b owed o ver t ree ;

s een v irtually i n r ight

p rofile .

F acing h im a nd c rouching a t

t he

f oot o f t he t ree , a S cythian k nife-grinder . i st c entury A .D . A GDS I I ( Berlin) n o. 4 67.

7 0

C abinet d es M edailles, P aris; n o. 1 470 b is. I ntaglio, a gate.

2 .1 x 1 .7 c m .

( Description o f i mpression :) o ver t ree ;

A t t he l eft ,

M arsyas h angs f rom a b owed-

h e i s s hown i n t hree q uarter v iew ,

f acing r ather t o t he r ight .

A n ude k nife-grinder k neels b efore h im ,

b ody g iven i n r ight p rofile ;

h is

h ead ( adorned w ith r ays : a n o ccasional a ttribute o f A pollo ) p ivoted o ver h is s houlder t owards M arsyas . I mperial. R ichter, E GR n o. 2 55. 7 1

B erlin , F 7 599.

I ntaglio, c arnelian .

A t t he r ight i s a b owed t ree .

1 .3 x 1 .00 c m .

I n t he c entre, h anging

f rom

t his,

M arsyas, f acing s lightly t o t he l eft. I mperial. J . O verbeck , G riechische K unstmythologie ( 1871-89) I II , G emmen T afel n o . 4 0 ; p . 4 73 n o. 1 0.

M arsyas H anging: C oins 7 2

R oman c oin t ype f rom G erme i n M ysia ( Cremna). A pollo s tands a t t he l eft , a lmost f ully f rontal , h is w eight b orne o n h is

l eft l eg . I n h is l eft h and h e h olds t he l yre , i n h is r ight a p lectron ( ?) . H e i s t urned a l ittle t owards M arsyas , h anging o n t he r ight f rom a n u pright t ree.

T he t runk i s v isible t o t he r ight o f M arsyas' b ack . T he f igures s tand o n ag round-line . H adrian a nd M arcus A urelius.

1 52

H ead

7 3

( supra n o .

6 ) n o . 7 07 ;

B ernhart ( supra n o .

6 ) n o .

1 461,

p l . Kr,

4 .

R oman c oin f rom A lexandria. ( fig. 3 9). A pollo i s p erched h igh o n a r ocky s eat a t t he l eft,

s een i n

r ight

p rofile . H e s upports t he l yre i n f ront o f h im o n h is d raped l ap . T here i s a b owed t ree o n t he r ight f rom w hich M arsyas h angs ( three q uarter v iew , f acing l eft) ; o n t he g round b y h is f eet , a p air o f c rossed f lutes . I n t he m iddle f oreground t here c rouches a S cythian knife-grinder, h is c loak b illowing b ehind h im , v iewed i n l eft p rofile . A ntoninus P ius. A dI ( 1858) p l . N 5 ;

O verbeck ( supra n o .

( supra n o . 6 ) p l . X I ,

7 1) I II ,

M ünztafel V ,

2 4 ;

B ernhart

1 3 .

M arsyas H anging: E ngraved G lassware. 7 4

R heinisches L andesmuseum ,

B onn .

E ngraved c lear g lass b owl .

f oot u ppermost i n a l ate R oman g rave n ear C ologne . c m . ; d ia . o f e ngraved f oot c a . 1 0 c m . T he d esign o n t he f oot d escribed a s v iewed f rom

was

e ngraved

t his

s ide ,

f rom

t he

F ound

A verage d ia . 2 4

e xterior ;

i t

i s

w hich p laces t he k nife i n t he

S cythian 's r ight h and a nd t he c ithara i n A pollo 's l eft , a s w ould b e n ormal . T he r ound f ield i s d ivided h orizontally i nto t wo r egisters . a

U pper r egister :

A t t he l eft a S cythian h auls u pon t he r ope w hich h olds

M arsyas s uspended f rom t he t ree ( the s tylised f oliage s uggests a s pruce/fir t ree?) . M arsyas ' b ody i s t urned a l ittle t o t he r ight ; l ightly e ngraved l ines d escending f rom t he l eft s ide o f h is c hest i ndicate h e i s b leeding p rofusely . T o t he r ight c rouches a s econd S cythian , a g reat k nife h eld i n h is r ight h and , w ho l ooks b ack o ver h is s houlder t owards A pollo a nd e xtends h is l eft h and i n a g esture t owards h im . A pollo s its o n a r ock a t t he r ight , h is l eft s houlder a nd r ight k nee d raped , m otioning t o t he n earer S cythian w ith h is r ight h and . H e i s r egarding t he s cene t o t he l eft . O n t he g round a t t he e xtreme r ight i s s et a c ithara . I n m id-air a bove t he c rouching S cythian i s ad ecorated a ltar f rom w hich r ise t hree s tylised f lames. b )

L ower r egister :

I n t he c entre, b eneath a n a rcade,

i s A pollo ; h e

s tands , t aking a s tep t o t he l eft , a nd s upports h is c ithara w ith h is l eft a rm ; h e r epeats h is p revious g esture . H e i s a cclaimed b y t wo f lanking M uses o r w orshippers .

T he e xtreme c orners o f t he f ield a re e ach o ccupied

b y ad ecorative p anel . t he l eft o f A pollo .

A s mall ( one-flame) a ltar a ppears o n t he g round t o

C oins f ound i n t he g rave g ive a t erminus p ost q ue r n o f MI 3 68 . L .

H aberey ,

B onnJbb C XLIX

( 1948-49)

9 4

f f"

p l .

6 f . ;

S pätantike. A usstellungskatalog, M ainz ( 1980) n o. 11a.

1 53

G allien i n d er

M arsyas a nd O lympos: P aintings. 7 5

P ompeii V 2 , 1( Casa d ella R egina M argherita ) . P ainted p anel , h . o f t he w est w all , r oom p ( triclinium n orth o f t he a trium) . 3 5 x c m . a pprox .

F airly p oor c ondition .

S lightly t o t he l eft o f c entre a nd p resented a lmost f rontally , s its o n a r ock ,

ay ellow r obe d raped o ver b oth t highs .

M arsyas

O lympos s its b eside

h im a t t he r ight, l eaning b ack t owards h is m aster 's c hest, r ight e lbow r esting i n t he s atyr 's l ap . I t i s j ust p ossible t o m ake o ut t hat O lympos i s p laying a f lute h eld i n h is r ight h and ; h is l eft h and, n o l onger f ully v isible , e xtended t o t he r ight o f t he s cene ; o bservation o f t he w ork i n s itu i ndicates t his t o h ave h eld a s econd f lute . M arsyas ,

h is h ead

p ressed

c lose

t o

t hat

o f h is p upil ,

u ses h is

r ight

h and t o m ake a d idactic g esture t owards t he f lute h eld i n O lympos ' r ight h and . T he p roximity o f t he t wo l ends a c ertain a mbiguity t o t he s cene ; p erhaps a l ittle m ore t han t he n ormal m usic l esson i s t o b e i mplied? T here i s al andscape s etting w ith, t o t he r ight, t races o f a t ree. C ompanions: s itting

f igure

n orth w all , J upiter a nd D anae i n a n i nterior ; i n a

b road-brimmed

h at

e ast w all ,

( Meleager/Hermes?) a nd a s tanding

m ale - l over? E arly F ourth S tyle ;

N eronian ,

p ainted b efore t he e arthquake o f A 01

6 2. A dI ( 1884) 7 0 f f ., p l . G ; R einach , R P 3 2, 4 ; L . R ichardson i n MAAR X XIII ( 1955) 1 48 : b y t he ' I phigenia P ainter ' ; S chefold , W P 6 9 ; V .M . S trocka , ' E in m isverständener T erminus d es v ierten S tils : d ie C asa d el S acello I liaco i n P ompeji ' , R ömMitt 9 1 ( 1984-i) p p .

7 6

1 31 ,

1 33 ,

1 37 ( on p aintings i n V 2 ,

1 ) .

P ompeii V I 8 , 3 ( Casa d el P oeta T ragico). P ainted p anel i n t he m iddle o f t he u pper w all , n orth w all o f r oom 1 5 ( Triclinium r ight f rom t he p eristyle ) . R oughly s quare f ormat , h eight 6 0 c m . a pprox . D amaged b ut d ecipherable . ( fig. 4 8) M arsyas s its c entrally o n a r ectangular b lock w hich i s d raped w ith a

c loth o r a nimal s kin . T here i s as tep o n t he l eft, o nto which M arsyas ' r ight l eg i s r aised . H e i s a pparently b eardless , h is h ead w reathed w ith s pruce . H is b ody i s t urned s lightly t o t he l eft a nd h e h olds u p a f lute i n e ither h and ; h e a pplies h is m outh t o t hat i n h is l eft h and . T o t he r ight s tands O lympos , h ere d epicted a s ay oung b oy . i s p oised o n h is r ight l eg, h is l eft d rawn b ack a l ittle .

H is w ieght H e f aces h is

m aster a nd r eaches o ut h is r ight h and t owards h im , p alm u ppermost - r eaching f or a f lute o r r equesting a t urn t o p lay . H e w ears a s hort g reenish c hlamys. T he f igures , a ppearing a gainst a p lain , l ight-toned g round f ramed b y a p air o f o rnate c andelabra, a re s et w ithin a n a rchitectural f ramework . O n

t he main walls:

D iana a nd

T heseus.

1 54

C allisto ;

A riadne a bandoned b y

F ourth S tyle ; H elbig ,

7 7

P n o .

2 25 ;

N eronian , a fter t he e arthquake o f A .D . 6 2. R einach , R P 3 2 , 2 ;

S chefold , W P 1 06 .

M us. N az. N aples; i nv . 9 141. F rom H erculaneum . 3 7 x3 3 c m . U pper l eft h alf o f t he p icture m issing ;

o therwise , g ood

c ondition . ( fig. 4 6). M arsyas s its n ear t he r ight o n a c oarsely h ewn r ectangular b lock ; a gainst i ts r ight s ide l eans a p edum .

T he t op o f t he b lock i s p added w ith a

l oosely b unched a nimal s kin , o n w hich M arsyas i s s eated , h is l eft l eg d rawn b ack , h is b ody t urned s omewhat t o t he l eft . H e i s s hown b lowing t he d ouble f lutes, a nd a ppears b eardless - a lthough t his i s h ard t o t ell f or s ure. A ll t hat r emains o f O lympos a re h is y outhful l egs , f rom t he k nees d own , a t

t he l eft .

H is

l eft l eg

i s

s lightly b ent a t

t he k nee ,

s uggesting

t he

w eight w as b orne o n h is r ight l eg . C learly h e w as s hown i n 3 /4 v iew , f acing t owards t he r ight . T he s pacing o f t he t wo f igures i ndicates t here w as n o d irect p hysical c ontact b etween t hem . F aint t races o f al andscape s etting. P robably F ourth S tyle. P dE I V ,

2 9 ,

a 41 ;

H elbig ,

P n o . 2 29 ;

R einach , R P 3 2 ,

6 ;

S chefold , W P 3 38 :

V espasianic , o r l ater S econd S tyle . D AIR 5 6.501.

7 8

M us .

N az .

N aples ;

i nv .?

( Old

s tyle d esignation I ,

f rom P ompeii ( precise l ocation n ot g iven ) .

1 41) .

P ainting

3 6 x 2 5 c m . ; d amaged .

M arsyas s its o n a r ock i n t he m iddle , s haded b y t he f oliage o f a t ree g rowing t o t he r ight . H is l eft f oot i s r aised o nto a s mall b oulder ; h is t highs a re d raped w ith a r obe o r s kin .

H e f aces a l ittle t o t he l eft.

B etween M arsyas ' k nees s tands O lympos , H e i s e ncircled b y h is t utor 's a rms ;

w eight b orne o n h is r ight l eg .

i n t his w ay M arsyas g uides t he f lute

h eld i n O lympos ' l eft h and t o h is mouth , a nd s upports t he y outh 's r ight h and, w hich h olds a s econd f lute. O n

t he g round t o t he r ight,

p artially o bliterated ,

a s econd p air o f

f lutes. T here i s ar ocky l andscape s etting. P robably F ourth S tyle ; R MB X , 2 2;

7 9

H elbig, P n o . 2 28 ;

M us .

N az .

c m .

D amaged.

N aples ;

i nv .

V espasianic? R einach R P 3 1, 5 .

2 7701 .

P robable M arsyas-Olympos s cene.

1 55

P ainting

f rom

H erculaneum .

3 5 x 3 2

T here i s a r ocky s eat, s pread w ith a b rown r obe;

' Marsyas' s its o n

t his, t urned s trongly t o t he r ight, h is l eft a rm a bout t he s houlders o f ' Olympos ' .

T he

y outh

t ries

t o

t wist

f rom

' Marsyas 's '

g rasp,

b ut

i s

r estrained b y t he s atyr 's g rip o n h is l eft w rist . A p edum a nd p erhaps a d iscarded s yrinx l ie a t t he l eft ; t here i s a d iscarded y ellow r obe o n t he s eat a t t he r ight. T races o f a l andscape b ackground. C ompanion : n o .

5 56 ;

S atyr

R einach ,

R P

F ourth S tyle ; P dE ,

I ,

1 6 ,

s tates

9 1;

H elbig ,

P n o .

t hat

2 30

R P

( from

1 841) V III ,

( Naples ;

i nv .

2 7699 ;

H elbig ,

t he

( Probably M arsyas a nd O lympos) ;

' Olympos '

a lthough h e a ppears

w ork ,

8 0

9 8 ,

a m aenad

P

5 ) .

V espasianic?

s pecifically

h ermaphrodite ,

e mbracing 1 25 ,

7 -d rawn a fter H .

t hus

R oux

i s

n ot

c haracterised

i n R einach 's

a nd

L .

B arrg ,

H elbig a s

i llustration o f

a

t his

H erculaneum e t P omp a

2 .

Mus. N az. N aples; I nv .? ( Room 8 1) . P ainting f rom a c oncave wall, f rom H erculaneum .

t he

s o-called

' Basilica ' a t

1 25 x 1 12 c m .

P oorly p reserved. ( fig. 4 4) M arsyas l eft ,

s its

t highs

o n a r ectangular b lock ,

d raped

w ith a n a nimal

h is b ody f acing a l ittle t o t he

s kin .

H is

s houlders o f O lympos, s tanding t o t he r ight . w ith h is

r ight h and

l eft

a rm

r ests

a cross

t he

H e r eaches t owards t he y outh

( virtually o bliterated)

a t a round

h ead

l evel ,

p erhaps

h olding a f lute f or h im t o b low . O lympos ' w eight i s o n h is l eft l eg , h is r ight d rawn b ack a l ittle , o nly t he t oes r esting o n t he g round . H e i s s een i n 3 /4 v iew , h is b ody t urned a l ittle t owards M arsyas. T here i s af lute h eld i n e ach o f h is h ands. I n t he b ackground ,

a s creeen o f a rchitectural

d ecorative c ornice a nd m ouldings ;

p anelling ,

c apped w ith a

t o t he l eft a ppears a n o pen d oor .

T he d rawing H errmann-Bruckmann f ig .

2 9 ( here f ig .

4 5) w rongly r estores

t he p osition o f M arsyas ' r ight h and , p erhaps b ased u pon t he r elated p ainting 8 1 f rom P ompeii V I 9 , M ajor c ompanion : N aples i nv .

2 . C heiron t eaching t he l yre t o t he y outhful A chilles ;

9 019.

F ourth S tyle ; V espasianic. H elbig, P n o. 2 26;

8 1

H errmann-Bruckmann ,

P ompeii V I 9 ,

2 ( Casa d i M eleagro) .

r oom b ehind t he p eristyle). 7 9 x 6 5 c m .

I , 10, f ig. 2 9 ;

S everely d amaged.

1 56

D AIR 5 6.500.

P ainted p anel i n r oom 2 6 ( third

M arsyas s its f rontally o n a r ocky s eat ,

h is l eft l eg r aised a l ittle ,

h is l ower b ody t urned s lightly t o t he l eft . A n a nimal s kin , p assing b ehind h im, d rapes b oth t highs . H is r ight h and, r eaching a cross h is c hest, g estures

t o O lympos ,

w ho s tands

b eside h im a t

t he

r ight .

H is

l eft

h and

r ests o n t he y outh 's l eft s houlder. O lympos ,

a lso v iewed m ore o r l ess

f rontally ,

i s p osed i n a g raceful

d 6hanch6 m anner , r ight h and r esting l ightly o n h ip ( as d rawn ) ; p erhaps o riginally a s econd f lute w as h eld i n t his h and , t o m atch t he o ne h e h olds o ut t o t he r ight i n h is o ther h and . T he m ajority o f r epresentations i n v arious m edia i n w hich O lympos c an b e s een t o h old a f lute i n f act g ive h im t wo . H e w ears a P hrygian c ap . T here a re t races o f ar ocky l andscape b ackground. F ourth S tyle ; R MB X , 4 89 ;

4 ;

H elbig ,

V espasianic? P n o .

M arsyas a nd O lympos: 8 2

2 27 ;

R einach ,

R P 3 2 ,

1 ;

M üller-Wiesler I I ,

4 1,

S chefold, W P 13.

C eramic R elief

P rivate c ollection o f D r. H . C ahn . R elief d ecoration o n ag reen-glazed c eramic j ug. R eputedly o f E astern p rovenance. D imensions M arsyas

( not P an ,

a s H errmann ,

b elow ) a nd O lympos a re s eated s ide b y

s ide ; p erhaps t heir s eat i s s pread w ith a c loth o r s kin - a s wag o f d rapery o f s ome k ind i s j ust v isible b etween t he k nees o f t he p air , a nd M arsyas ' f arther t high a ppears t o b e d raped . M arsyas i s s een i n r ight p rofile , h is r ight l eg d rawn b ack t owards t he l eft ; h is s atyr t ail c an b e s een d escending b ehind h im . W ith h is r ight h and h e r eaches o ut t o s teady t he s yrinx t hat O lympos b lows . T he y outh , s itting t o t he r ight o f M arsays, h olds t he i nstrument w ith b oth h ands . W hile h is k nees a re t owards h is t eacher .

d irected a way t o t he r ight ,

h e

t urns h is u pper b ody

A ugustan . H errmann , H G 8 7 n ote 1 9, p l. 3 2, 2 .

M arsyas a nd O lympos: V I a

L ater 3 rd c entury A .D .?

M arsyas a nd O lympos: 8 3

M osaic

M us .

N az .

R elief a nd S culpture

N aples;

i nv .

1 26 2 34/235 .

o scillum i n t he f orm o f at ondo ; t he p eristyle o f P ompeii I X 7 , 2 0. ( fig. 5 1)

1 57

Two f ragments o f a marble

p art o f t he o scilla c olection f rom D ia . 2 7.1 c m .

T he t wo f ragments a re a djoining a nd c omprise a round t hree-quarters o f t he o riginal a rea . F igures a re c arved i n s hallow r elief o n e ach f ace ; s ide A c arries C heiron a nd A chilles. O f s ide B , t he l eft h and s egment s hows t he f igure o f M arsyas s eated o n a r ock a nd v iewed i n r ight p rofile . D iagonal i ncisions b ehind h im m ay b e i ntended t o i ndicate a r ocky l andscape b ackground . A pparently n aked , b ut p erhaps s itting o n a c loth o r s kin - t he c arving i s t oo c oarse t o t ell f or s ure , M arsyas h olds h is r ight h and a bove h is l ap a nd s eems t o b e g ripping t he l ower e nd o f t he p air o f f lutes w hich a ppears o n t he r ight-hand s egment . M arsyas ' h ead a nd s houlders, a s w ell a s m ost o f t he f igure o f O lympos , a re b roken-away a nd m issing , b ut t o t he r ight o f t he b reak a s mall a rm c an b e s een c lasping t he f lutes . B ecause t he m issing s ection i s s et o ff f rom t he c entre , t he c orresponding f igure o f t he y oung A chilles o n s ide A i s b etter p reserved, a nd i t i s c lear t hat O lympos ' p osture a nd p osition i n r elationship t o h is m usic t utor w ere s imilar t o t hose o f A chilles , t hat i s s tanding, v iewed more o r l ess f rontally, a nd w ith t he l eft a rm p assing b efore t he b ody . T o t he r ight o f t he M arsyas s cene, a t ree. P erhaps

f rom

r epresentations

t he i n

3 rd

q uarter

p ainting

a nd

o f

t he

s tucco

i st

c entury

s uggest

t he

A .D . ,

when

a pplication

o f

o scilla b ecame e specially p opular i n P ompeii ( Dwyer , b elow , p . 2 57). N Sc ( 1880) 4 52 ;

E .J . D wyer , ' Pompeian O scilla C ollections ',

( 1981-ii) 2 74 n o . 5 5 ( 'Satyr o r s ilenus'), p l.

8 4

R ömMitt 8 8

1 05, 1 .2.

P resent l ocation? S tatue-base e xcavated f rom t he O deon a t P tolemais ( Kyrenaika) . M arble. D imensions - ( figures s lightly u nder l ife-size?). A ll t hat r emains o f t he f igures a re f eet b roken o ff a t t he a nkles. ( fig. 4 7). A t t he l eft,

t ogether ;

b ehind

f acing t he f ront, t he a dult

f igure 's

a p air o f a dult f eet, r ight h eel ,

r emains o f

f airly c lose a r ocky b ase

a nd , p robably , o f a t railing a nimal s kin . O n t ip-toe b ehind t he l eft h eel , t he s maller r ight f oot o f a y outh . T his i s m atched b y a s econd s mall f oot a t t he r ight, p laced o n t op o f as yrinx l ying o n t he g round t here ; t he y outh s tood w ith l egs s omewhat a stride . T he b ase o f a s upport b ehind t he y outh 's l eft f oot i ndicates a s tanding f igure ; a dult f eet w ould s eem t o i mply a s eated f igure .

t he

P robably M arsyas a nd O lympos w ere r epresented ;

c onfiguration o f

t he

b oth t he c ontext o f t he

d iscovery o f t he s tatue-base a nd t he s yrinx c onfirm t he m usical c onnection , w hile P an i s a n u nlikely c andidate , s ince f eet a nd n ot h ooves a re d epicted . T he s tatue-base w as f ound i n c onjunction w ith s everal o ther s everely d amaged s tatues , a h omogeneous c ollection i ncluding a s tanding M use , A rtemis a nd a p robable f igure o f A pollo . C ertainly t his l atter t ogether w ih M arsyas a re e ntirely a ppropriate a dornments f or a v enue s taging musical p erformances . T he O deon w as b uilt l ater t han t he C aesareum ,

a nd m ay p erhaps b e

d ated f rom a n i nscription t o T rajan 's t ime. ' Funde u nd F orschungen i n d er K yrenaika 1 942-58 ', A A ( 1959) 3 36 f f ., f ig . 1 01;

A pollo(?) f ig. 1 04.

1 58

C f. t wo s culptural h eads, A ppendix C 7 8 5

Mus.

N az.

R omano

s arcophagus . e xecution .

( cloister),

6 1 x 5 9 c m . R ight

e nd;

R oma.

E nd

p anel

F airly s hallow r elief,

t he f ront p anel

s hows

o f

a

c oarse

a B acchic

p rocession . ( fig . 5 0). M arsyas p rofile,

s its

o n a d raped

r ocky s eat a t t he r ight,

h is r ight k nee r aised a l ittle .

v iewed i n l eft

I n h is l eft h and h e h olds a

f lute ; h is u praised r ight h and m ay g rasp t he r emains o f a s econd f lute , o r p erhaps t he t ip o f o ne o f O lympos ' f lutes . O lympos s tands a t t he l eft , v iewed

d irectly

f rom

t he

f ront .

H is

w eight

i s

b orne o n h is

r ight

l eg ,

g iving a t ilt t o h is p elvis . A t a round h ip l evel h e h olds a f lute i n e ach h and . H is h ead , n ow d amaged , a ppears t o h ave b een t urned t owards M arsyas . I n t he b ackground b etween t he t wo, a t ree. E arly S everan . M atz ( supra n o. 2 0) I I n o.

17, p l.

8 6

R ome .

Mus .

N az .

R omano ,

1 41.

i nv .

1 24682 .

S arcophagus

e nd

p anel . 9 4 x9 8 c m . R elief n ot d eep-cut, b ut modelling q uite s ubtle . F rom t he r ight e nd ; t he f ront p anel s hows a B acchic p rocession w ith B acchus a nd n ear F rascati o n t he V ia C asalina .

A riadne .

F ound

1 936 ,

T he r ight s ide o f t he p anel i s d amaged . O lympos s tands a t t he r ight i n af rontal d ehanchg p ose , h is w eight t aken o n h is r ight l eg .

W here t he r ight s ide o f t he p anel i s d amaged ,

a rm a nd l eg a re l argely m issing , a s i s h is h ead . r ight a rm t owards t he l eft, h olding a f lute ;

h is l eft

H e e xtends h is s urviving p robably h is l eft h and

o riginally a lso h eld a f lute. T here

i s a r ocky s eat a t t he l eft ,

s pread w ith a p antherskin ;

o n t his

s its M arsyas , s een i n r ight p rofile . H is f arther l eg i s r aised u p , s howing t he t high t o b e d raped . U pright i n h is l eft h and h e h olds a h ooked f lute . H is o utstretched r ight h and m ay o nce h ave h eld a s econd f lute , n ow b roken a way . F rom t he p eriod o f C aracalla. M atz ( supra n o. 2 0) I I n o. 7 6, p l. 9 2; D AIR 5 5.556.

M arsyas a nd O lympos: G ems 8 7

' Location u nknown ' . 3 6.

I llustrated :

F urtwängler ,

I ntaglio g em ( material u nspecified).

A G p l . X XX n o .

1 .7 x 1 .2 c m .

( fig. 4 9). ( Description

o f

i mpression) .

T he

f igures

a re

o n a g round-line .

M arsyas s its o n a r ock a t t he l eft w hich i s d raped w ith a p antherskin , o ne c orner o f w hich i s t urned o ver h is l eft t high . H e f aces t owards t he r ight ,

1 59

a nd i s c learly o ffering i nstruction t o O lympos .

W hile h is l eft a rm p asses

b ehind t he b oy 's s houlder , h is r ight h and h olds u p a f lute f or h im t o b low . O lympos s tands t urning a l ittle t o t he l eft ;

h is w eight i s s et o n h is l eft

l eg , h is r ight f oot b eing p lanted b ehind t he l eft f oot o f t he s eated s atyr . T he y outh h olds t wo f lutes b efore h is c hest , o ne i n e ither h and , a nd w ears a s hort c hlamys . M entioned b y L . S tephani i n C RAI s uggests a l ate R epublican d ate .

A G I I,

1 49

W hilst t he e xecution s eems a l ittle l ess s ophisticated t han 8 7 , d etail o f t he p oses a nd s etting a ppear m ore o r l ess i dentical .

t he

8 8

H annover ,

i nv .

K 1 682 .

( 1862)

I ntaglio ,

1 01;

g lass

F urtwängler ,

p aste .

1 .49 x 1 .08 c m. ( fig. 4 1).

i st c entury B .C . A GDS I V ( Hannover) n o . 2 94.

8 9

B ritish M useum , L ondon .

W alters n o . 2 968.

I ntaglio, p aste i mitating s ardonyx .

1 .3 x 1 .3 c m .

A s 8 8. i st c entury A .D .? W alters n o . 2 968. 9 0

M unich ;

i nv .

A 8 46 .

I ntaglio ,

o val

r ing-stone ,

g reen g lass

p aste .

1 .11 x 0 .87 c m . A s 8 8. i st c entury A .D . A GDS 1 -3 ( München) n o . 3 235. 9 1

B raunschweig.

I ntaglio, n icolo p aste.

1 .25 x 1 .09 c m .

S ketchily e xecuted v ersion o f 8 8 . I t a ppears t o d eviate , i n t hat O lympos ' r ight a rm i s r aised u p t o t he l eft , w hile M arsyas ' l eft a rm r ests i n h is l ap. i st t o 2 nd c entury A .D . A GDS I II ( Braunschweig) n o . 1 00.

M arsyas a s ad ecorative A djunct t o t he A pollo C itharoedus 9 2

V atican M useums, R ome. R elief d ecoration o n t he c ithara o f a n o ver l ife-size s tatue o f t he A pollo C itharoedu . s . M arble .

1 60

o f

T he f ully c lothed A pollo p lays h is i nstrument . O n t he o uter s ide-piece t he c ithara, b y A pollo 's r ight h and, a s mall f igure o f t he h anging

M arsyas

i s c arved i n l ow r elief .

H e h angs f rontally ,

h is

w rists c rossed

a nd b ound w ith a t hong, b y w hich h e i s t ethered t o t he i nstrument. i st c entury B .C. t o i st c entury A .D . A melung, I II a , 9 3

6 1, p l. 7 ; A . B artoli, B dA X XXVIII ( 1953) 8 , f ig.

1 2.

V atican M useum C hiaramonti, R ome. S tanding

A pollo

C itharoedus;

c oarse,

y ellowish

Marble .

H eight 6 4 c m . O f

A pollo, t he h ead, r ight a rm , a nd l egs b elow t he k nees a re m issing.

A pollo , n ude s ave f or a c loak a bout h is s houlders, r ests h is l eft a rm o n h is c ithara, which i s i n t urn s upported b y a s mall, b earded f igure o f Marsyas, whose a rms p ass b ehind h is b ack , i ndicating t hat h e i s b ound . S ince t his f igure i s m issing b elow t he waist,

i t i s i mpossible t o k now f or

s ure w hether i t w as r epresented s eated o r s tanding , a lthough t he p roportions o f t he f igure i n r elation t o t hose o f t he m uch l arger A pollo s uggest t he l atter. I mperial. A melung,

I , 2 92 b , p l. 5 1.

N ot t raced i n H elbig 4 ,

9 4

P alazzo M attei, R ome. F ragment f rom t he f rame o f t he ' lyre ' o f a n A pollo C itharoedus s tatue, e stimated t o b e o ver l ife-size . H eight o f t he f ragment :

F ound o n t he L ateran .

2 6 c m .

M arsyas i s d epicted i n r elief , h anging f rom a p ine t ree .

T o t he r ight ,

s uspended f rom t he t ree t runk n ear M arsyas, a p air o f c rossed f lutes. I mperial. M atz Duhn n o. 2 44; A dI ( 1877) 3 58.

9 5

Musge d u B ardo, T unis.

A massive s tatue o f A pollo C itharoedus.

M arble ; h eight : 3 00 c m . T he

s tatue

w as

e xcavated

a t

B ulla

R egia ,

where

i t

o ccupying t he c entral c ella o f t he T emple o f A pollo ;

w as

d iscovered

i t h ad

f allen

f rom a b ase 1 78 c m . t all . T he s tatue s tands w ith i ts l eft h and r esting o n t he t op o f t he o uter s ide-piece o f t he c ithara . T here a re t wo f igures c arved i n s hallow r elief o n t he f ront f ace o f t he i nstrument . A t t he l eft i s a c rouching k nifeg rinder w earing a S cythian c ap ; h e i s s een i n r ight p rofile , t o

t he r ight s ide o f t he i nstrument w here M arsyas h angs .

l ooking a cross T he S cythian i s

s hown k neeling o n s ome k ind o f p latform o r p linth . T he

b earded

Marsyas,

w ith

s atyric

1 61

f eatures

f ully

v isible,

h angs

f rontally .

S ome

l ower e dge o f l egs.

f oliage

s prouts

a bove h is c rossed w rists .

t he c ithara i s c hipped a way ,

t aking

w ith

i t

P art o f t he M arsyas '

l ower

N earby d edications m ay d ate t he w ork t o a round A .D . 2 02 . P .

G auckler,

C atalogue d u Musge A laoui

T emple d 'ATellon ä B ulla R egia ( 1908) p l .

( 1897)

6 b ;

c .

1 013;

A .

Y acoub ( supra n o .

Merlin , 1) 2 3 .

L ost: D etails u nknown 9 6

Two

l ost

Michaelis

s arcophagi f eaturing t he Marsyas s tory r ecorded b y A . i n t he f orm o f a b rief r eference

t o t heir e xistence,

w ithout f urther d etailed i nformation . a )

A l ost s arcophagus f rom S peier , h is

p ossession .

o f w hich M ichaelis h ad a d rawing i n

H e s tates o nly t hat

' Venus a ppears o n t he s ide o f

M arsyas'. A . M ichaelis, A Z ( 1869) 4 6 n ote 2 7. A l ost s arcophagus f rom C apua; p assing r eference. A . M ichaelis, A naglyphi V aticani E xplicationi ( 1865) 1 2.

A ddenda : T he C ontest - S culptural R elief 9 7

M useo d el P rado , M adrid ;

i nv . 4 24 - E . R elief p anels o n af ragmentary

t hree-sided c andelabrum b ase . a

W hite m arble , h eight : 5 0 .5 c m .

A n A pollo o f a c onventional t ype s tands w ith h is b ody d irected s lightly

to wards t he r ight, w eight b orne o n h is l eft l eg ; h e i s n aked e xcept f or a b rief c hlamys s lung a round h is s houlders . W ith h is r ight h and , h e r eaches o ut t o t ouch t he s trings o f t he c ithara r esting o n a s hort c olumn a t t he r ight , l eft. b

w hile h is h ead t urns o ver h is r ight s houlder ,

M arsyas ,

a pparently

b eardless,

we ight p oised o n h is r ight l eg ,

i s

p resented

t owards t he s pectator 's

m ore

o r

l ess

f rontally ,

h is l eft l eg e xtended a l ittle t o t he s ide .

H is h ead ,

p erhaps g arlanded ,

v isible .

H e r aises o ne f lute b efore h is f ace w ith h is r ight h and , a lthough

i s s hown i n l eft p rofile ,

s atyr e ars c learly

h e d oes n ot b low t he i nstrument ; h e h olds t he s econd f lute i n h is l eft h and a t a round h ip l evel. H erakles, le g ,

v iewed f rontally ,

h is r ight l eg f lexed .

s tands w ith h is w eight s et u pon h is l eft

H e s upports a s lender c lub i n h is

r esting a t a n a ngle a gainst h is l eft u pper-arm . a nd e xtended t o t he s ide , a s i f i n s alutation , s een i n l eft p rofile .

l eft h and ,

H is r ight a rm i s r aised a nd h is b eardless h ead i s

T he f igure i s p resented i n ap ose w hich c losely

e choes t hat o f M arsyas, b ut w ith t he l ower b ody b eing a m irror r eversal . T he u se o f a M arsyas f igure-type s imilar t o ( but b y n o m eans i dentical w ith) t hat o f 1 5 d oes n ot g ive s ufficient g rounds f or s upposing , a s d oes C ain ( below, p . 1 01), t hat b oth works must t herefore r efer t o a s ingle U rbild ;

t he A pollo i s l ess c losely r elated .

1 62

L e

E arly I mperial ( ?) E . H übner,

( Cain).

D ie a ntiken B ildwerke i n Madrid ( 1862) 2 84;

P . A rndt a nd W .

A melung , P hotographische E inzelaufnahmen a ntiker S kulpturen ( 1893-1940) 1 688 2 ; A . B lanco , M useo d el P rado , C atalogo d e l a E scultura ( 1957) 1 28 n o . 4 24 ; W . F uchs, D ie V orbilder d er n euattischen R eliefs ( 20 . E rgh . J dI) ( 1959) 1 36 , n ote 7 6; H .-U . C ain, Römische Marmorkandelaber; B eiträger z ur E rschliessung h ellenistischer u nd k aiserzeitlicher S kulptur u nd A rchitektur, B d . 7 . ( 1985) p p . 1 01,

1 32 f ,

9 8

r oughly s quare r elief p anel , k nown f rom a d rawing b y

L ost .

A s mall ,

P ier L eone G hezzi :

1 62; n o . 4 0, B eil. 5 , 7 , 1 4 .

V atican L ibrary C od . O ttoboniani l atini 3 109 f . 12 .

T he r elief w as f ound i n R ome o n

t he V ia

F laminia b eyond

t he P onte

M olle ( Milvio) a nd s ubsequently ( in 1 724) c ame i nto t he o wnership o f C ardinal A lesandro A lbani ; i t d oes n ot f eature i n t he c atalogues o f t he V illa A lbani .

T he d rawing w as i ncluded i n ac ompilation o f

d rawings made b etween 1 724 a nd 1 734 .

T he f igures o f M arsyas a nd A pollo a re d epicted s tanding , u pon a s lightly r ising g round-line .

f eatureless e xcept f or a b are t ree-trunk ,

l ocated b ehind Marsyas ' l eft

s houlder a nd d raped w ith t he s atyr 's p anther-skin . b earded

a nd

s lightly

h unched

f igure

l eft a nd r ight,

T hey a ppear a gainst a b ackground

w ithout

e vident

Marsyas, a c oarse, s atyr

e ars

o r

t ail ,

s trides t owards t he r ight w hilst b lowing t he f lutes, h is b ody s een i n t hree q uarter f rontal v iew . A pollo i s n aked , b ut w ears a d iagonal s upporting s trap f or h is c ithara - a d etail s hared w ith t he v ery s imilar A pollo o f X XI c . A f ull h ead a nd s houlders t aller t han M arsyas, h e i s v iewed a lmost f rontally i n a s tandard s culptural p ose , w eight b orne o n h is l eft l eg , h is r ight l eg r elaxed ; h e r ests h is c ithara u pon a p ilaster , h alf-shrouded b y a s wag o f d rapery , a rm

a cross

h is

w hich i s s et a t h is l eft s ide . c hest

t o

a pply

t he

p lectron

T he g od e xtends h is r ight

t o

t he

i nstrument ;

h is h ead ,

w reathed w ith l aurel , i s t urned t owards M arsyas . L .

G uerrini,

Marmi a ntichi n ei d isegni d i P ier L eone G hezzi ( 1971) 6 1 f "

c at. n o. 2 , p l. I I, i .

C yclic W orks: P aintings M us. N az. N aples; i n ?( roan 5 3). P ainting f rom P ompeii V 2 , 9 -12 , r oom p eristyle), 1 07 x 6 0 c m . ( fig .

q ( Cubiculum r ight f rom t he

e ast w all . F aded.

2 ) .

C ontinuous n arrative l andscape c omposition w ith h igh h orizon ; r oughly d ivisible i nto t hree d epth z ones .

a )

F oreground :

O n t he l eft,

a g arlanded s acred s tele s creened b y f oliage

f rom a g reat o verhanging r ocky o utcrop . M arsyas ,

A t t he s ummit o f

t his

p acing t owards t he r ight, h is c loak b illowing b ehind h im .

l eft h and h e h olda a p edum ;

h is r ight h and i s r aised t o h is m outh ,

s tands I n h is p erhaps

i n a g esture o f s urprise a t t he s cene e nacted b efore h im . D own b elow, f illing much o f t he f oreground, t here i s a l arge p ool,

1 63

f ringed h ere a nd s eat a gainst

t here

w ith

r eeds .

O n

w hich l eans h er s hield ,

t he

l eft b ank ,

s its A thena .

p erched o n a r ocky

S he i s

s hown i n

r ight

p rofile , b lowing e nthusiastically a t t he u praised d ouble f lutes . B efore h er , w aist-deep i n t he p ool, a s pring n ymph h olds u p a c ircular m irror u nderscoring t he f act t hat A thena i s v iewing h er r eflection w hile p laying . T wo m ore f igures i nhabit t his z one , b oth s ituated o n t he f ar b ank o f t he p ool ; a f emale l ocation d eity h olding a c ornucopia s its a t t he l eft, b eneath t he c rag ; t he s econd f igure , t o t he r ight a nd f lanked b y a b are t ree , h as h is b ack t urned a nd i s s tepping t owards t he m id-ground s cene . H e h olds a p edum a nd , u nlike M arsyas, s ports a b road-brimmed h at . ( below) s ee i n t his f igure

i ntended

t o

f igure a nother M arsyas . l ead

t he

e ye

i nto

D awson a nd H errmann

M ore l ikely h e i s a s taffage

t he n ext

s cene .

H e

p articipates

i n

n either t he f ore n or m id-ground a ction a nd a s a M arsyas f igure h e w ould b e s urplus

t o b oth .

b M id-ground : M arsyas, s een i n f ull r ear v iew , p aces w ith h is r ight l eg t owards t he b ackground g rouping o f f igures . A f lute h eld h igh i n e ach h and , h e i s c learly p laying w ith v igour . H is p ose i s c arefully t hought o ut: o nce more t he e ye i s l ed t o t he n ext z one, a f low o f movement p reserved. c )

B ackground :

a bove .

O n t he

l eft,

b uildings ;

p erhaps

a w alled

t own

s een f rom

T owards t he m iddle t here i s a g roup o f s tanding f igures ( as d rawn ,

e leven), o nlookers f rom t he t own, o r p erhaps Muses a nd o ther a ttendant f igures .

T o t he r ight o f t his g roup , a nd s tanding a l ittle t o i ts f ore , a

m ale f igure h olding a s taff ; s ecurely a scertained .

maybe A pollo w as i ntended ,

A l ittle

f urther

f igure , a l ong-robed s eated f emale , a s taff, o r p ossibly a s pear?

f orwards,

h alf

b ut t his c annot b e o bscuring

t he

l ast

v iewed i n l eft p rofile a nd a lso h olding

F aintly s howing i n t he e xtreme b ackground , t here a re t races o f t rees a nd f urther b uildings. E arly T hird S tyle - L ate A ugustan . C ompanion p ictures :

f rom t he f acing w est w all ,

D aedalus a nd I carus,

f itting t hematic a nd c ompositional p endant ( cf . B lanckenhagen , c at .

n o .

6 ) ;

H erakles

a nd

t he H esperids ;

H ippolytus

a

1 41 w ith h is

b efore a s anctuary o f

A rtemis. R ömMitt V ( 1890) 2 67 ;

H errmann-Bruckmann I , 2 12 f "

f ig . 6 2, p l . 5 4 ; A . M au ,

P ompeji i n L eban u nd K unst 2 ( 1908) 5 00 , f ig . R einach , R P 2 1, 2 ; E lia , 9 3 ; C .M . D awson, R omano-Campanian Mythological L andscape P ainting , ( YCS 9 ) ( 1944) 9 0 n o . 2 3, p l . 8 ; d rawing b y D iscanno ( C.).

I I

R umpf,

1 73,

9 ;

S chefold,

WP 7 2,

D AIR 5 3 .507

=

P ompeii V III 5 , 3 7 ( Casa d elle P areti R osse). T hree s quare f ramed p anels i n r oom c ( second r oom l eft f rom t he a trium) , f orming t he m ain d ecorative e lement o f e ach o f t hree w alls . T he p anels: 3 8 x 3 8 c m . a pprox . Q uite f aded, w ith s ome s urface d amage. ( figs.

2 1, 3 0).

U nlike t he n eighbouring r ooms , w hich h ave c ompletely r ed w alls , h ere

1 64

t here i s a b lack s ocle , w ith r ed f ields a nd w hite D urchblicke . T he t hree p anels d o n ot

c learly c onstitute a n arrative g rouping

t he s ense o f r epresenting c onsecutive e pisodes o f t he s tory ,

i n

b ut t hey

f orm a n a ssemblage o f e lements r elated t o t he p unishment o f M arsyas ; t his r esults i n A pollo b eing d epicted t wice, c reating w hat i s m ore t han s imply a s ingle e pisode d ispersed i nto p endant p anels ( a a nd b b elong t ogether , d erived f rom a s ingle c ompositonal s cheme) , a nd m ore t han t wo/three u nconnected s cenes . a

S outh

w all ;

f ig .

3 0 :

M arsyas

s tands

j ust

r ight

o f

c entre ,

h is

bo und b ehind h is b ack t o a t ree; h e f aces a l ittle t o t he l eft,

h ands where,

c rouching w ith h is b ack t o t he s atyr , t here i s a k nife-grinder . D amage p revents o ur s eeing whether t his f igure t urned h is h ead b ack o ver h is s houlder t owards h is v ictim , a s i s s ometimes t he c ase ; t races o f l ong a rms t o h is c lothes,

which t erminate i n a c uff a t t he wrist,

i ndicate h e w as w earing S cythian d ress .

T o t he r ight,

would s eem t o

p artially e ffaced ,

l eans a p air o f f lutes. I n t he b ackground, a r ocky l andscape s etting. b

W est w all ( facing e ntrance) - a djacent t o a ;

f ig . 2 1:

O n a s tool i n t he

ce ntre s its A pollo , d epicted i n a t wisted p osture ; h is k nees ( the r ight o ne d raped) a re d irected t o t he l eft, h is t orso i s m ore o r l ess f rontal , a nd h is g aze a imed s omewhat t o t he r ight . H is l eft h and i s p ropped b eside h im o n h is

s eat,

w hile i n h is

v ictory.

r ight h e h olds a p alm-frond ,

t he n ormal

s ymbol o f

H e s eems t o b e w earing a s piky ( Helios-style) h ead-dress.

I n t he b ottom r ight-hand c orner k neels a s upplicating O lympos . t his a rea i n s itu ,

i s

f aded

t o a c ertain e xtent

my p ersonal

o bservation ,

W hile r ecorded

c onfirms t his .

I n t he b ackground, t races o f a n i nterior s etting. T his p ainting i s g iven b y S chefold,

WP 2 28 a s N arcissus;

t here a re

c ertain f ormal s imilarities t o s ome N arcissus r epresentations, b ut a n e qual n umber t o s ome A pollo r epresentations a lso . P erhaps t he m isapprehension c an b e t raced b ack t o a n e arly d escription o f t he p ictures f . )

w hich

i ncorporates

o ther

e rrors

b esides .

T he

i nterior

( NSc ( 1882) 4 38 s etting

w ould

s eem f urther t o m ilitate a gainst a N arcissus i nterpretation. c

N orth w all :

de corated

s tool ;

A gain a n i nterior s etting . h is

l ower b ody

i s

d raped

A pollo s its a t t he l eft o n a i n a r ed r obe .

T he g od f aces

t owards t he r ight, s upporting a c ithara o n h is l ap w ith h is l eft h and . H is r ight a rm i s d rawn u p a bove h is h ead , i n ag esture f requently e ncountered i n t he c ontext o f M arsyas' d efeat a nd p unishment.

T o t he r ight, a t able.

B ehind a nd t o t he r ight o f A pollo t here s tands a f emale f igure ,

p erhaps

aM use, l ooking t owards t he g od. F ourth s tyle; V espasianic. S chefold , 5 6 .1258 ; p l.

W P 2 28 ; w est

s outh w all ( a) :

w all ( b) :

H errmann-Bruckmann ,

D AIR 5 3 .534 ;

n orth wall ( c) :

1 83.

1 65

I ,

2 50 f ig .

7 5 ;

D AIR

H errmann-Bruckmann ,

I ,

I II

P ompeii V I 7 ,

2 3

( Casa d 'Apolline) .

P aintings c overing m ost o f t he

w all a rea o f r oom g ( room i n t he n orth-west c orner o f t he x ystos) . N ineteen f igures d ispersed t hroughout a r ich a rchitectural f ramework ; t he main c haracters s et i n a rchitectural c ompartments, f igures i nhabiting t he b ackground a rchitecture .

s ubsidiary

T he b ackbround t o t he a rchitecture i s r ed. ( fig. 3 5). Ip reserve H elbig 's n umbering o f t he f igures, b ut I d ivide t hese i nto a ppropriate c ompositional g roupings . a

N orth w all ( to t he r ight o f t he e ntrance) :

w ithin a n i mposing c entral a edicula, v iewed m ore o r l ess f rontally , n ude ,

s ave f or a mantle ,

I n t he m iddle o f t he w all ,

a s tanding A pollo C itharoedus

h e t urns a l ittle t owards t he r ight .

a nd h as a b lue n imbus .

n iches f lanking t he m ain o ne .

T hese h ouse :

( 4); H e i s

T here a re t wo s econdary

o n t he l eft , A thena ( 2) , o n t he

r ight, M arsyas ( 6). A thena s its o n a r ock , a gainst w hich l eans h er s hield , w ith h er k nee d irected t owards t he r ight, h er u pper b ody t urned t o t he l eft . H er h ead t ilted f orward a l ittle , s he b lows t he d ouble f lutes a bove a p olished m irror o r b owl a t h er f eet. S he i s d ressed i n av iolet c hiton , matching t he c olour o f t hat w orn b y t he g irl ( 1) p eering o ut f rom t he a rchitecture t o t he l eft .

T he n ext f igure ( 3) ,

t o t he r ight o f A thena ,

l ooking o ver s ome k ind

o f b alcony w ith a g rieving e xpression t owards A pollo , s eems t o b e O lympos . H e w ears a b lue P hrygian c ap , a l ong-armed g reen c hiton a nd a r ed c hlamys . M arsyas s trides f orward w ithin h is n iche t o t he r ight o f A pollo . w ears t he n ebris a nd h olds a f lute i n e ach h and a t a round w aist l evel ; t urns h is h ead t owards A pollo .

H is s kin i s b rown ,

H e h e

l ike t hat o f t he m ale

f igure ( 5) b etween h im a nd A pollo - a nother s pectator b ehind a b alcony r ailing .

H elbig

d escribed h is

f eatures a s

' vulgar ' ,

b ut e ven t hen i t w as

i mpossible t o t ell w hether h e w as c haracterised a s a s atyr .

I n h is l eft

h and h e h eld a s taff o r p edum a nd h is r ight w as h eld o ut t owards A pollo ' as i f p leading ' ;

c ertainly a n a lly o f M arsyas .

t o s ee a ny o f t his i n d etail. b rown f igure ,

s imilar t o ( 5) ,

T he s urface i s n ow t oo d amaged

T he f inal f igure a t t he r ight ( 7) was a s tepping t hrough a n o pen d oor a nd h olding a

b asket i n h is l eft h and . b

S outh w all :

T he s ame b asic a rrangement o f a rchitectural f eatures i s

p reserved, a p rincipal c entral a edicula f lanked b y t wo l esser n iches. H owever, a p rojection i nto t he r oom a t t he r ight-hand e nd o f t he wall, d oubling

t he

l ength

o f

wall

t o

b e

d ecorated

a t

t hat

e nd,

h as

b een

a ccommodated i nto t he o verall p attern b y t he a ddition o f a t hird s ubsidiary n iche. W ithin

t he

d irectly f aces

c ental

a edicula

s its

A pollo

t hat c ontaining t he A pollo

( 4)

( 11) ; o f

t his a .

c entral

L eaning

c omponent

b ack o n h is

s tool o r t hrone, h is l eft e lbow r esting o n t he c ithara a t h is s ide, h e r aises h is r ight a rm o ver h is h ead , d rawing u p h is r ed a nd g reen m antle , which f lows d own o ver h is b ack a nd t high . H is b ody a ppears i n t hree q uarter v iew d irected t o t he l eft, b ut h is h ead i s t urned s harply t o t he s pectator's r ight t o l ook a t t he a djacent n iche. T his r ight-hand n iche c ontains t he p athetic f igure o f M arsyas 3 5) ,

s tanding ,

h ead b owed , h is h ands s ecured b ehind h is b ack .

1 66

( 13 ,

f ig .

H is l egs a re

s et s lightly a stride,

h is b ody s een i n t hree q uarter v iew a s h e f aces

t owards A pollo a t t he l eft . C ontemplating M arsyas f rom t wo b alconies f lanking h is n iche , t wo S cythians ( 12 a nd 1 4) , e ach w ith a n a rm s tretched o ut t owards h im , d ressed i n m atching y ellow c aps a nd c loaks . I n t he n iche t o t he l eft o f A pollo s tands O lympos ( 9) .

H e w ears g rey

t rousers , a g rey , l ong-sleeved u ndergarment , a y ellow c hiton , a r ed c hlamys a nd a r ed P hrygian c ap ; i n h is l eft h and , ap edum . H e f aces t owards A pollo , h is l eft l eg i mploringly .

c rossed b efore t he r ight, r eaching o ut h is r ight h and T o t he l eft o f O lympos , s tepping o ut t hrough a n o pen d oor , a

S cythian ( 8) w ith a y ellow c ap, b luish c hiton a nd b reeches, a nd a white c loak . T o t he r ight , l ooking o ver a r ailing b etween O lympos a nd A pollo , a f emale f igure ( 10) d ressed i n a r eddish c hiton , a y ellow c loak a nd a w hite v eil. T he t hird ( supplementary) n iche c ontains a s tanding S cythian ( 15), p resented f rontally , who h olds a k nife i n h is r ight h and ; h e i s e ither t esting i ts b lade w ith h is l eft h and , o r i n t he p rocess o f u nsheathing i t . H is h ead i s t urned t o t he l eft , t owards t he b ound M arsyas . T his m ust b e t he p rincipal e xecutioner . H e t oo h as a y ellow c ap , w ith y ellow t rousers , a l ong-armed v iolet c hiton a nd a r ed c hlamys . T he f inal f igure a t t he r ight i s ag irl ( 16) s tepping t hrough a d oor , ab asket i n h er l eft h and ;

s he

h as a r ed c hiton . c

E ast ( entrance ) w all - t he s tretch o f w all r unning f rom t he d oor t o t he

n orth w all : T hree f urther f igures a s a ttendants a t t he e xecution . I n t he m iddle , w ithin a n iche , a S cythian ( 18) s imilar t o ( 15) ; h e s trides t owards t he r ight , h is r ight h and e xtended h olding s ome u nidentified o bject ( perhaps a f etter , a ccording t o H elbig) . O n e ither s ide , a S cythian p eering f rom a b alcony ( 17 ,and 1 9) t owards t he c entral f igure ; t hey h ave w hite c aps a nd r ed c hlamydes, w orn o ver w hite c hitones.

O n t he w est w all , f acing t he e ntrance , ac ompanion p ainting w ithin a s imilar a rchitectural f ramework : A pollo a nd t he c ontest b etween V enus a nd t he E vening S tar ; H elbig , Pn os . 1 89 , 3 88 , 18 ; R einach , R P 1 07, 1 -3 . T he t ripartite d ivision o f t he w all d ecoration a nd t he a rrangement o f t he a ediculae r ecall t he s caenae f rons o f t he R oman t heatre ; b ut r ather t han s howing a d ramatic p erformance , a n a nalogy m ay h ave b een i ntended w ith t he d isplay o f s tatuary w ithin a rchitectural f acades . F ourth S tyle ;

' sub-Neronian u nder V espasian '

( Schefold).

B dI ( 1841) 1 06; H elbig, P n o . 2 32; H errmann-Bruckmann , p ls . 2 24-228 ; S chefold, W P 1 03; M . B ieber, A H istory o f t he G reek a nd R oman T heatre 2 ( 1961) 2 33 , f ig . 7 76 ( restored d rawing) ; E .M . M oormann i n P ompeii H ercula neum S tabiae : ( 1983) p p . 8 4-87 ; L IMC I I , 1 , p . 4 04 n os . 2 76/295 .

C yclic W orks: S tucco R elief I V

R ome , t he s o-called ' Underground B asilica ' a t P orta M aggiore . T hree s cenes l ocated i n t he v ault o f t he l eft ( north ) s ide-nave o f a t hree n aved

h ypogeum

w ith

a pse

a nd

a ntechamber

O verall p lan d imension o f s ide-nave:

1 67

o n

1 2 x 2m .

t he

V ia

P raenestina .

( fig. 3 3). T he t wo-figure s cenes a a nd b i n a p anel o n t he s outh s ide o f t he v ault f ace a f our-figure s cene c i n a c orresponding p anel o n t he n orth s ide .

a )

M arsyas s its

o n a r ock a t

t he l eft,

h is

t highs d raped , h is

d rawn b ack, h is h ands r esting o n h is k nees.

r ight h eel

H e f aces t he r ight, where

t here s tands a g raceful f emale f igure w ho s eems, w hile s tepping l ightly away f rom M arsyas, t o t urn h er h ead a nd u pper b ody t owards h im . H er r ight h and i s e xtended t owards h im , p alm d ownward , a nd h er l eft a ppears a t a bout b reast l evel , c lenched a s i f h olding s ome o bject a lthough n o t race o f s uch c an n ow b e s een.

v ertically

( a

s pear

p erhaps?) ,

T he p ose o f t he f emale f igure r ecalls t hat o f t he M yronian t ype A thena c asting d own t he f lutes b efore M arsyas o n t he l ate H ellenistic r elief v ase A 10 .

Y et n o f lutes s urvive t o b e s een a nd n o a ttribute i s v isible t o a llow

a d efinite i nterpretation a s A thena . N or d oes t he f laccid f igure o f M arsyas s how a h int o f t he r eaction A thena 's m otion m ight b e e xpected t o p rovoke . T here i s n o d irect p arallel f or t his j uxtaposition a mongst e xtant R oman o r e arlier M arsyas w orks. I t i s most l ikely t hat t his i s a n e clectic c ombination o f f igures, a ssembled t o b alance , b oth i n t hematic a nd c ompositional t erms, t he s eccnd t wo-figure g roup b , w hich i s e ncountered i n o ther R oman w orks, t he u ltimate a im b eing f or t he t wo,

t aken t ogether,

t o b alance

t he

f our-figure c ,

o pposite. C ited a s A thena a nd M arsyas i n M ielsch a nd L IMC ( below). b

S eated o n a b lock t o t he l eft,

i nto t he b ackground, r esembles

i s A pollo .

t hat o f M arsyas

i n a ,

h is b ack t o a c olumn o r

s tele

i ncised

T he a rrangement o f h is b ody a nd l egs b ut h is

r ight h and i s

r aised

u p o ver h is

h ead . H e t oo i s o nly d raped a round t he h ips a nd t highs . H e s upports a c ithara i n h is l ap w ith h is l eft h and . F acing h im a t t he r ight s tands a M use , h er h ead g arlanded . W ith h er w eight b orne o n o ne l eg , s he t rails t he o ther b ehind h er . A s hort c olumn s upports h er r ight e lbow , w hile h er r ight h and g estures t o A pollo , p alm u p ; w ith h im . c

T he

r ight, l eft ,

f our-figure

t ethered a nd i s

g roup

t o a s tark ,

( fig .

s he i s e ngaged i n s ome f orm o f d iscussion

3 3)

p resents

b are t ree ,

a f amiliar

i s M arsyas .

s cenario :

H e f aces

a t

t owards

t wisted t o d isplay h is b ack a cross t he s houlder-blades .

t he t he H is

r ight l eg c rosses b efore t he w eight-bearing l eft l eg , t he t oes o nly r esting o n t he g round . B efore h im s tood t he t rousered f igure o f t he S cythian, p resented more o r l ess f rontally . f igure n ow r emain ,

O nly t he l egs a nd l eft a rm o f t his

b ut h is s ilhouette a gainst t he b ackground p reserves t he

e ssence o f h is p osture , a nd t he t ell-tale j ut o f a n e lbow i ndicates t hat h is r ight h and p robably p assed b ack a cross h is b ody a t a round w aist l evel . A s econd d amaged f igure i s s tationed t o t he l eft o f o nce m ore t he p ose i s r ecorded i n s ilhouette .

t he S cythian ,

b ut

T his i s O lympos , k neeling t o

i mplore m ercy f or h is m aster . H is p leading a rms r each o ut t owards A pollo a t t he l eft, n ow i n a v aried p ose a nd f ully c lad . S till s eated o n ar ock i n much t he s ame f ashion a s b efore , k nee.

t he g od n ow r ests h is r ight a rm o n h is

A t t he l eft, b ehind h is s eat, a g arlanded p illar s tands.

1 68

C ompanion s cenes i n t he n orth s ide-nave i nclude : P haedra a nd H ippolytus ( adjacent

t o a /b) ,

O restes a nd E lectra ( adjacent

t o c ) ;

mythological ,

c ult

a nd B acchic s cenes; o n t he o uter e dges o f t he d ecorative f ield, r ows o f g ryphons,

c raters,

f igures .

c .a. A .D . 2 5. G alli,

( Bastet-De V os).

1 42 f .; G . B endinelli, MonAnt X XXI ( 1926) 7 17-720,

C arcopino,

p ls. 2 9-30;

L a b asilique pythagoricienne d e l a P orte M ajeure ( 1926) ;

J . F . 1-

B astet, B ABesch 3 5 ( 1960) 1 f f . ( bibliography o n d ating) ; S . A urigemma , L a b asilica n eopitagorica s otteranea d i P orta M aggiore i n R oma ( 1961) ; F OB astet, B ABesch 4 5 ( 1970) 1 48 f f. ( bibliography o n i nterpretation) ; H . M ielsch ,

R ömische S tuckreliefs ( 1975) 3 2 f "

19 c at . n o .

1 6 ;

B astet-De V os ,

1 2, 5 1 f ., n o . 2 6 - r elated t o T hird S tyle p hase I c ; L IMC I I, n o .

1 , p . 1 105

4 21.

V

V ault d ecoration f rom a n u nknown l ocation i n R ome , d estroyed . P ighianus

P ainted s tucco? ( Fs .

3 32

p robably a g rave ;

P ublished a fter d rawings i n t he C odex

-3 37) .

( figs. 5 2 a -d) . F our f rieze-like p anels, e ach c ontaining f our f igures; t hey w ere l ocated i n p airs, f acing e ach o ther a cross t he v ault, s eparated b y t wo l arger f ramed m otifs .

T he f acing p airs :

aa nd b ;

ca nd d .

a ) A r obed f emale f igure s its o n a r ock a t t he l eft, t urning t o g esture w ith h er r ight h and t owards t he f luting M arsyas ( beardless i n t he d rawing) ; s he m ay b e a M use o r g oddess . S he i s p robably n ot a n ymph - t he d eities o f l ocation a ppearing i n t he o ther s cenes a re a ll n ude o r o nly s cantily d ressed. Marsyas s tands w ith h is l egs b raced a part, p ivoting h is u pper b ody t owards A pollo , a t t he r ight, a s h e b lows t he f lutes . T he g od g estures t o M arsyas w ith h is o utstretched r ight h and f rom h is r ocky s eat ; h is l yre a t h is s ide . n ude .

S itting a t

E xcept f or a r obe d raped o ver h is

t he e xtreme r ight,

r ight

h e s upports l eg ,

h e i s

o n t he s ame r ocky o utcrop a s A pollo ,

i s a s econd r obed f emale o nlooker . T he

b ackground c ontains

t wo s telai ,

o ne a t

t he l eft,

t he o ther o n t he

c entral a xis. b A s pring n ymph s its o n a r ock a t t he l eft; h er k nees, o n which s he s upports a f lowing p itcher , a re t urned away t o t he l eft, b ut s he w atches w ith i nterest t he main p art o f t he s cene . r eclines o n a s econd r ock ,

T o h er r ight, a n ude A pollo

r ight e lbow p ropped o n h is l yre .

H is l eft h and ,

r esting o n h is u praised l eft k nee , h olds a l aurel o r p alm b ranch . T o t he r ight, t he f ocus o f A pollo 's a ttention , a k neeling k nife-grinder ( nude b ut p erhaps w ith a P hrygian c ap ) f acing t he b ound M arsyas . N ow b earded , t he v ictim s tands i n t hree q uarter v iew , h is g aze t urned t owards h is p ersecutor , h is r ight l eg p lanted i n f ront o f t he l eft .

A t h is b ack ,

ab are t ree .

T his t ime t he b ackground c ontains o nly a s ingle s tele, a gain o n t he c entral a xis. C

T o t he l eft o f a c entral t ripod s its A pollo , h is r ight a rm s upported a t

1 69

h ead l evel b y h is l yre , f aces

t he

p leading

a l aurel b ranch o r p alm h eld i n h is l eft h and .

O lympos

a t

t he

r ight

o f

t he

t ripod ,

w ho k neels,

H e a rms

o utstretched , h is c hlamys f lying b ehind h im ; t he y outh w ears a P hrygian c ap . T his c entral p air i s f lanked b y t wo g enii l oci, p lace p erched o n s tools ,

l ooking a l ittle o ut o f

n ow t hat t he s cene a ppears t o h ave b een t ranslated

t o a n i nterior - A pollo 's r ock h as b ecome a m oulded b asis . a nd s it

i n s imilar p oses,

f acing t o t he l eft .

B oth a re m ale

T he c haracter o n t he l eft

h olds i n h is l ap a c ornucopia, t he o ne o n t he r ight a l aurel ( ?) b ranch . T he l atter r ests h is l eft e lbow o n a f lowing p itcher . d )

T he f inal e pisode g ives a s cene u nique

t o t his c ycle ,

p erhaps c omposed

e specially t o c omplement t he p revious s cene, w hich i t f aces. T wo f urther g enii l oci f lank a c entral p air o f f igures ; t heir e quivalent a t t he r ight o f c , p itcher .

p osed m uch a s

e ach r ests h is l eft e lbow o n a f lowing

T he o ne o n t he l eft may h ave h eld s ome o bject i n h is l ost r ight

h and ; h is c ompanion o n t he r ight h olds w hat m ay b e ar eed a nd t urns h is h ead a way f rom t he a ction ,

s upported o n h is l eft h and ,

p erhaps i n a n a ttitude o f

d espair. A gain A pollo i s s et j ust l eft o f c entre, h is p ose a s i n c , a lthough n ow h e e xtends h is

l eft h and a nd h is

w ith a rms r aised ,

l ap

i s a n aked y outh ,

i s

d raped .

R ushing

s urely O lympos .

away

f rom h im ,

H e o ccupies t he s ame

l ocation a s O lympos i n t he p receding s cene , t o w hich t his p anel p rovides t he p endant . T he moment d epicted may b e t he r efusal b y A pollo o f O lympos ' p lea f or c lemency . T he s cene h as s hifted o ut c haracters s ettled u pon r ocks.

o f

d oors

o nce

more,

a ll

t hree

s eated

W ith r eference t o t he p attern o f t he o verall d ecorative s cheme, M ielsch s uggests a n A ntonine d ating .

O .

J ahn,

B erichte d er s ächsischen G esellschaft d er W issenschaft X X ( 1868)

2 29 f . ; O . J ahn, l oc .cit. X XI ( 1869) 1 f f., p ls. 1 -4; ( 1913)

1 85

f .,

f ig .

r ömischen G rabkunst

2 8;

R einach,

( 1963)

3 5 ,

13

R P f . ;

3 0 H .

1 -4;

B .

M ielsch

F . W eege, J dI X XVIII A ndreae,

( supra n o .

S tudien z ur I V)

A nhang

A

n o . 1 6; L IMC I I, 1 , p . 4 27 n o . 4 64 .,

C yclic W orks: M osaics V I

M us. N az. R omano, R ome; i nv. T wo

p olychrome

5 2 x 5 2 c m .

a )

f loor

f rom

t he

V illa

R omana

a t

B accano .

D amaged a nd r estored .

M arsyas a nd O lympos:

M arsyas h alf-reclines o n t he g round a t t he l eft,

p ropped o n h is r ight e lbow , s kin .

1 242/3.

e mblemata

w hich i s s wathed i n a b rownish r obe o r a nimal

H e i s v iewed a lmost f ront-on , h is l egs s tretched a long t he g round t o

t he r ight, i n a p ose r eminiscent o f h is r epresentation a s a r iver g od . A s yrinx h angs f rom a d iagonal s trap a t h is s ide ; h is h ead , w reathed ( with s pruce?), t urns t owards O lympos s tanding t o t he r ight. T he y outh

i s

d ressed

i n g reenish e astern c lothes a nd w ears a r ed

1 70

P hrygian c ap ;

h e s tands t owards t he m iddle o f t he f ield , p artially o bscured

b y t he l arge a ltar ( ?) a gainst w hich h e l eans h is l eft a rm .

H e i s s hown i n

l eft p rofile , f acing M arsyas, w ho r eaches o ut h is l eft h and ( restored) t o g rasp t he t ip o f h is p upil 's l eft-hand f lute . O lympos h olds a f lute i n e ach h and , a lthough t hese a re n ot a s e mphatically d elineated a s t he p air o f f lutes w hich l eans a gainst t he ' altar '. T he r ocky l andscape b ackground

r uns

t hrough d ifferent h ues o f g rey ,

g reen a nd o chre. b

M arsyas h anging :

( extensively d amaged a t t he r ight a nd a l ittle a t t he

l eft) M arsyas , v iewed f rontally , i s s uspended f rom a t all t ree a t t he l eft ; a S cythian d ressed i n a b rief g rey/green t unic b races h is l eft l eg a gainst t he t runk t o h aul a t a r ope s ecuring M arsyas ' a nkles ; t railing e nds o f t he r ope c an b e s een i n t he e xecutioner 's o utstretched r ight h and . A f lowing a nimal s kin d escends f rom Marsyas ' s houlders, b illowing t o t he r ight . L ying o n t he g round b eneath t he S cythian i s ap air o f f lutes . A pproximately i n t he m iddle s tands a r elaxed A rtemis , b ow i n h er l eft h and . I mmediately t o t he r ight i s A pollo , p reserved o nly f rom t he c hest u p , a lthough h is p osture i mplies t hat h is l egs w ere d irected t o t he r ight a nd t hat h e w as s eated r ather t han s tanding . A rtemis i s d ressed i n ar edb rown c ape a nd s age-green t unic w hile A pollo h as a r ed-brown c loak s lung f rom h is n ude t orso. A pollo s upports h is l yre w ith h is l eft h and a nd h olds h is r ight h and t o h is h ead a s h e h alf-turns t o v iew t he p unishment o f h is r ival , i gnoring t he f igure o n t he e xtreme r ight ( largely d estroyed) , aM use o r N ike . F rom w hat r emains o f t his f igure i t i s p ossible t o s ee t hat s he w as r epresented i n much t he s ame p ose a s t he Muse a ddressing A pollo i n I V b : s een i n l eft p rofile , w ith r ight h and e xtended p alm u p ( see a lso n o . 3 1) - b ut h ere s he a ppears t o b e h olding o ut a w reath, a t oken o f v ictory . T he f inal f igure c rouches i n t he middle f oreground; i t i s O lympos p leading b efore A pollo. H e w ears a y ellow c ap a nd r ed c hlamys. T he s etting c omprises a g reenish w ooded b ackground. C ompanion e mblemata f rom t he s ame l ocation :

T he M uses ; L eda ; t he r ape

o f G anymede ; ar iver g od. L ater 3 rd c entury A .D .? B rizio,

B dI

( 1873)

1 28 f f . ; E . F abbricotti, Mosaici a ntichi i n I talia ;

B accano : V illa R omano

( 1970) 3 0-32 ,

H elbig 4 I II, n o. 2 473; L IMC I I,

V II

n o .

1 2 ,

p ls .

1 2 a nd

1 3 ;

K . P arlasca

i n

1 , p . 4 28 n o. 4 68 a ; D AIR 5 6.253.

L arge m osaic p avement f rom D ougga , n ow c onserved a t U tica , T unisia . T he s ecretaire G eneral d u C entre d e l a R echerche A rcheologique e t H istorique ( Tunis) r efused p ermission f or m e t o s tudy t his p iece i n 1 979 a nd 1 985 . I t w as m entioned b y B lanckenhagen ( 141 n ote 9 2) ; o therwise n ot p ublished . Ih ave , h owever , m anaged t o a scertain t he f ollowing : E arly 4 th c entury A .D .

1 71

P olychrome ;

c ontinuous

n arrative

c omposition

i n

a l andscape

s etting .

T he c entral a rea i s m issing. A t t he b ottom l eft, a n A pollo C itharoedus ( seated) w ith , S cythian k nife-grinder.

t o t he r ight, a

A t t he r ight-hand s ide M arsyas h angs f rom a t ree.

T owards t he u pper l eft i s A thena b lowing t he f lutes w ith d istorted f eatures o ver a n a rea o f w ater , a lthough s he i s r eported t o b e l ooking i nto a mirror ( cf. I ) . A thena. -

Marsyas a ppears a t t he r ight, p eering o ver a r ock a t

C yclic W orks: R elief S culpture V III

Mus.

N az .

N aples;

G uida

R eusch

n os.

6 50

R a nd

6 24

I .

Two

f ragmentary s ections f rom o ne o f t he p lutei o f t he v omitoria f rom t he amphitheatre a t C apua ( the l argest R oman a mphitheatre a fter t he C olosseum) .

T ravertine .

M ajor s ection ( itself made u p o f

s everal

s maller f ragments ) 7 3 x 7 8 c m .

a )

( Major s ection )

A t t he b ottom l eft c rouches a S cythian k nife-grinder ,

s een i n r ight p rofile ,

l ooking d irectly t owards

s atyr i s p resented f rontally ,

t he h anging M arsyas .

T he

s o t hat o nly t he l eafy f oliage o ver h is h ead

i ndicates t he p resence o f t he t ree . T o t he r ight, e ngaged i n s ecurjag M arsyas ' w rists a bove h is h ead, a s econd S cythian , f ully c lad i n e astern c ostume ; h is c olleague i s s tripped t o t he w aist . I t i s t he d amaged f igure a t t he e xtreme l eft w hich r eveals t his p iece t o h ave b een p art o f a c yclic w ork .

T his b earded s atyr s trides

t o t he l eft,

l eft a rm r aised, h ead t ilted b ack ; a lmost c ertainly h e was b lowing t he f lutes . H is h ead i s w reathed w ith a s pruce g arland , a c ommon a ttribute o f M arsyas .

T hus t he p anel m ust h ave c ontained a c ontest a nd p unishment s cene

c ombined a s ac ontinuous n arrative. b

( Minor

s ection ;

n ot

d irectly

c ontiguous

w ith

a )

A k neeling

f igure ,

f acing l eft a nd d ressed i n l ong-sleeved a pparel . S ince w e a lready h ave a S cythian k nife-grinder , t his must b e O lympos ; t he b illowing c hlamys i s o ften s een w orn b y t he p leading O lympos . must h ave b een l ocated e xtension o f t he p anel .

f urther

T he A pollo t o whom h e d irected h is p lea t o

t he l eft,

o n t he missing l eftward

T he m any f urther f ragmentary r eliefs f rom t he s eries o f p lutei i nclude : l abours o f H erakles ; D iana b athing ; M ars a nd R hea S ilvia ; o ther mythological s cenes; m aenads; s acrifices. H adrianic. G . P esce,

I r elievi d ell 'Amphiteatro C ampano ( 1941) 2 9 f ., n os . 4 3 ( = a )

p late 1 8 a , 5 1

E X

( = b ) p late 2 0 c ; R obert, A SR I II, 2 52, w ith f igs.

F ormerly a t t he V illa V igna P acca; T avazzi ,

a t t he P orta S alaria ,

R ome .

p anels o f a c hild s arcophagus c arries t he n ine M uses . a )

L eft e nd:

A t

s ubsequently with t he d ealer F ound a t O stia .

( height

3 8

c m.);

T he t wo e nd

t he f ront p anel

t he f oot o f a t ree o n t he l eft t here c rouches a S cythian

1 72

k nife-grinder ( nude a nd without a ny i tem o f e astern c ostume, c onforms c losely t o t he P ergamene s uspended a t t he r ight .

S cythian t ype) ,

l ooking

S een a lmost i n l eft p rofile ,

s till h e

t owards

M arsyas

t he s atyr h angs f rom

ab owed l eafless t ree-trunk . b )

R ight e nd :

M arsyas s tands a t t he l eft,

f rom t he f ore . c hest ,

t urning s lightly i n t he d irection o f A pollo ,

T he g od 's s eat , h is

l egs b raced a stride a nd v iewed

H e b lows t he d ouble f lutes w hich h e h olds i n f ront o f h is

l eft

p erhaps a r ock ,

l eg .

H is

l eft

w ho s its a t t he r ight .

i s l argely s hrouded b y t he r obe w hich d rapes

a rm

c radles

t he

c ithara

o n t he s eat b eside h im ,

w hile h e g estures t owards t he f luting s atyr w ith t he p lectron i n h is r ight h and.

H e i s d epicted i n t hree q uarter v iew l ooking t owards t he l eft. E arly 2 nd q uarter o f t he 2 nd c entury A .D .

A . T rendelenburg,

A dI X LIII ( 1864) 2 1, p ls. D a nd E ; Matz-Duhn n o . 3 267;

R obert, A SR I II, 2 65 n o. 2 11; W egner n o. 2 18, p l. 2

X

P alazzo B arberini, R ome . 6 5 x 2 66 c m .

C racked ;

a .

S arcophagus f ront p anel .

s ome p eripheral b reakage a nd s urface d amage .

T hree s cenes c ontained i n g arlands s upported b etween f our p utti . F igures i n t he s cenes s tand o n a f loating r elief g round-line .

a ) L eft s cene : A t t he l eft i s a f rontal s eated A thena ; s he i s p erched w ith h er r ight l eg e xtended , t he f oot f ully o verlapping t he g round-line ; h er l eft l eg i s f lexed , i n p rofile ._ d estroyed) ,

t he f oot b eing s et u p a bove t he g round-line a nd v iewed m ore

T urned t o t he r ight, s he b lows t he d ouble f lutes ( now l argely h er c heeks b ulging .

T o t he r ight i s a r ocky o utcrop ,

b ase o f w hich c ascades a s pring ; a p lastic

r endering .

A top

f rom t he

p eering f rom t his i s h er r eflection ,

t he

c rag

i s

p erched A thena 's

o wl,

a nd

g iven t o

t he

r ight o f t he b ird t here s its a d iminutive f igure o f C ybele , l eft a rm r esting o n t he t ympanon , h er h ead s upported o n h er r ight h and . B ehind e ach o f t he g oddesses , b

a f ig-tree .

M iddle s cene :

O n t he l eft s tands a f rontal M arsyas, l egs a stride , a rms

b ound t o t he f ig-tree b ehind h im . t he

l eft)

a nd h is

f lutes

a lso v iewed f rontally ;

( at

t he

F rom t he t ree h angs M arsyas ' n ebris ( at r ight) .

T o

t he

r ight

s tands a S cythian ,

a lthough h is r ight a rm i s m issing n ow ,

i t i s l ikely

i t w as e ngaged i n u nsheathing t he k nife h eld b efore h im i n h is l eft h and , a n a ction f amiliar f rom o ther works.

T o t he r ight o f t he S cythian i s a

s econd t ree o n w hich r oosts a l arge r aven ( Apollo 's m essenger) ; b ranch h angs a f lute-case .

a s mall r ocky c avern f rom which g ushes a s pring; s harpening C

R ight

f rom a l ower

B etween t he e xecutioner a nd h is v ictim t here i s s et a bove t his,

t he

s tone . s cene :

A n e xtension o f

t h p revious

s cene ;

A pollo

w atches

t he

e xecution t aking p lace i n t he n eighbouring f ield . H e s its o n a r ock a t t he r ight , h is l eft a rm r esting o n t he l yre . H is r obe p asses o ver h is r ight u pper t high a nd l eft f ore-arm . h air a t t he b ack o f h is h ead .

T he g od f aces

swan a nd b ehind, a l aurel t ree . a bove t his, o verhanging

l eft ,

A longside h is s eat,

r evealing t he k not o f

t o t he r ight,

t here i s a

I n t he l eft f oreground i s a g ryphon ;

a s mall s pring n ymph with a b undle o f r eeds, t ree .

1 73

s haded b y a n

A .D . J .

1 50 - 1 70/80.

W inckelmann ,

M onumenti a ntichi i nediti ( 1767) 2 0 ;

A . M ichaelis,

A dI X XX

( 1858) 3 26 , p ls . B . a nd C ; M atz-Duhn n o . 3 158 ; R obert, A SR I II , 2 44 n o . 1 96 ; K och-Sichtermann , 2 31 n o . 8 3 i n t he l ist o f g arland s arcophagi , 2 62 f " l ist o f w orkshop c onnections; L IMC I I , 1 , p . 4 28 n o . 4 65 ; D AIR 7 4.1023-28.

X I

P alazzo d el C onservatori, R ome . S arcophagus f ound o n t he V ia d ella ( depth : 6 0 c m .) .

B raccio N uovo i nv . 2 402 . G arbatella . 5 6 x 1 90 c m .

( figs. 2 6-27). T he m ost c omprehensive s urviving M arsyas w ork , g iving s ix e pisodes, w hich c over t he f ront a nd b oth e nd p anels . T he l id b ears g ryphons a nd

t ripods .

a ) L eft e nd : C onfined t o t he f oreground b y a s creen o f d raped f abric , w e s ee M arsyas s tanding a t t he l eft , af lute h eld i n e ither h and ; t he k not o f h is n ebris i s v isible o n h is c hest . H e t urns a l ittle t o t he r ight, w here ag reat f igure o f A thena s its e nthroned, r eaching w ith h er r ight h and t owards h im, t ouching h is l eft a rm . A t t he e xtreme l eft, a t ree, a c onvenient f ixing p oint f or t he b ackground d rapery . b )

R ight e nd :

l eft p rofile ,

A t t he l eft , a t ree o nce m ore .

I n t he f oreground , s een i n

M arsyas s toops t o r etrieve t he f lutes f rom b eside a p ool o r

s tream i ndicated b y s tylised w avelets ; t his a ccords w ith t he m ythological t radition b y w hich t he s atyr f inds o r r ecovers t he i nstruments a fter A thena h as f lung t hem a way i n d isgust, p erhaps i nto o r n earby t he s pring i n w hich s he v iewed h er d istorted r eflection . M arsyas w ears a n ebris . I n t he b ackground t o t he r ight a s pring n ymph s its o n ar ock , l eft e lbow p oised o n a f lowing p itcher , ah uge r eed-bundle s prouting b eyond h er r ight a rm . I t m ay b e t hat t his s cene p resents a n a lternative s tarting p oint t o t he s tory t o t hat i llustrated i n a . T he s ide p anels a re e xecuted i n al ess r efined t echnique t han t he f ront , a nd c arved i n s hallow r elief. T he f ront p anel e ssentially f orms a c ontinuous n arrative f rieze , b ut f rom w ithin t his f ormat t he i ndividual e pisodes c an b e i solated , r eading f rom t he l eft t o f ollow b oth t he s equence o f e vents a nd t he d irection o f M arsyas ' p rogress a s h e t ravels t owards h is f ate . c

A t t he l eft t here s tands a M use r eading f rom a r oll - a l iterary M use

o r , a s S ichtermann ( below ) s uggests , a r eferee . I n f ront s hort p illar t hat s erves a s as upport t o r aise u p t he r ight a s h e l ounges o n h is r ocky s eat . T he g od, h is c ithara t owards t he r ight ; p ropped a t t he r ear o f h is d raped s eat q uiver . T he n ext f igure i s M arsyas , s een i n r ight p rofile

o f h er s tands a e lbow o f A pollo , i nverted, f aces a re h is b ow a nd a s h e p aces a way

f rom A pollo , p laying w ith t he f lutes h eld h igh , h is s haggy c loak b illowing t o t he r ear . H is f orward p rogress i s h alted b y A thena, who s tands c onfronting h im , h er r ight h and e xtended t owards h im o nce m ore . S eparating M arsyas

f rom A pollo ,

a l eafy t ree .

I n s hallow

1 74

r elief

o n t he

b ackground

b ehind A thena , f urther t rees e mphasise t he l andscape s etting ; i n s imilar l ow r elief b ehind M arsyas'

l egs a ppear a p edum a nd s yrinx.

A t o nce b ringing t his s cene t o ac lose a nd l eading i nto t he n ext, a n ymph ( or ' Muse ') ( fig .

2 6) s its o n a r ock ,

h er l ower b ody d raped ;

h er p ose

i s a djusted t o m irror t hat o f A pollo , c reating a s ymmetrical c omposition , b ut h er h ead p ivots t o t he r ight t o t ake i n t he s ucceeding s cene , o f w hich s he

i s a lso a n i ntegral p art .

e xisting s culptural t ype ,

T his

i s,

i n f act,

a c reative r e-use o f a n

a nd s he s hould p robably b e v iewed

t ogether

w ith

t he M arsyas o f d a s r eferring t o t he l ost H ellenistic s tatue-group A 88 . d )

A longside t he n ymph ,

pr ominent 2 7) .

t ree ,

t o

t he

a nd d irecly o n t he c entral a xis,

i s a s econd

r ight o f w hich s tands a d isconsolate M arsyas

H e h olds a f lute i n e ach h and a nd ,

h ead l owered ,

( fig .

t akes a r eluctant

s tep t o t he r ight . e )

A S cythian i n f ull e astern c ostume, w ith h is r ight h and o n M arsyas'

ri ght f ore-arm , h ustles t he s atyr t o t he r ight , h is a rms f ettered b ehind h is b ack .

T he s ame e nthroned A thena f irst e ncountered i n a a waits h im a t t he

r ight , t he s truts w hich b raced h er n ow m issing r ight a rm s howing i t t o h ave b een e xtended a s b efore .

T he b ackground d rapery s eems t o r e-establish t he

s etting o f t hat f irst s cene,

t o w hich t his m ust s urely b e s een a s ac oda.

T here i s n o l iterary o r v isual e vidence t hat Marsyas c aused d irect o ffence t o A thena b y t aking u p t he f lutes s he h ad r ejected . h owever ,

S he d ces,

a ppear o ccasionally a s a j udge o r r eferee o f t he c ontest,

a nd i t

m ay b e i n t his c apacity t hat s he i s s hown h ere, p assing h er v erdict. f )

I n t he f inal s cene ,

t he f amiliar S cythian k nife-grinder w hets h is b lade ,

s een i n r ight p rofile a nd w earing M arsyas ,

f ull

e astern c ostume ;

w ho h angs f rom a b owed t ree ,

h e g lances

s een i n t hree q uarter v iew ,

u p a t f acing

l eft. I n b oth o f h is f ront-panel a ppearances w ith t he f lutes - i ncidentally , e ach t ime o n o ne o f t he m ajor s ub-axes , t he w hole p anel b eing d ivided i n t wo b y t he t ree o n t he c entral a xis - t he i nstruments a re o f e ntirely d ifferent f orm .

W hen M arsyas i s

f luting t hey a re s traight-barreled

w ith p rojecting

f inger-stops ; w hen h e s tands d espondent t hey h ave a b ulging m outh-piece a nd s imple f inger-holes . T his c ould m erely b e t he r esult o f e legant v ariation , b ut m ight e qually i mply a n e clectic c ombination o f f igures f rom d ifferent s ources. A .D .

1 50 - 1 70/80.

C arettoni ,

6 1-71,

K och ,

f .,

3 9

c onnections) ;

p ls .

n o .

I a nd

3 5,

p ls .

I I ;

B artoli ( supra n o .

8 2-85;

9 2)

1 f f . ;

K och-Sichtermann ,

S chefold ( supra p . 8 9 n ote 3 ) 7 79;

S ichtermann-

2 62

( workshop

L IMC I I, 1 , p . 4 26 n o .

4 69. X II

L ocation C astle , K ent ;

.

I ncluded i n J uly 1 983 s ale o f A ntiquities f rom H ever

S otheby 's L td .

a rea a t H ever C astle ;

F ormerly s ituated i n t he T riton 's L awn

o riginally i n R ome ,

S arcophagus, c oarse w hite m arble ; d eep c ut ; s ome s urface d amage . ( fig. 5 3). M arsyas

s cenes

o n t he

f ront

p anel

1 75

S tudio A ltobelli Z insler .

5 9 x 1 90 c m .

a nd

t he

r ight

R elief c arving n ot

e nd p anel .

T he f ront p anel b ears t wo s ubsidiary s cenes ,

a a nd c ,

w hich

c an b e t aken t ogether t o f orm a n e xtended p unishment c omposition - t hey f lank t he c entral c ontest s cene b . a ) F ront p anel ; l eft s ubsidiary s cene : A pollo s its u pon a t hrone i n t he le ft f oreground, f acing t owards t he r ight ( his h ead a nd r ight a rm a re m issing) . H is r ight l eg i s d raped a nd h e h olds a l yre i n h is l eft a rm ; t o t he l eft o f h is s eat, a g ryphon . S tanding b ehind h im i n t he l eft b ackground t here i s aw inged N ike who c arries a v ictory p alm . B efore A pollo k neels O lympos , p leading ; h is r ight h and i s l ifted i n a ppeal ( his l eft a rm i s m issing) .

H e w ears a c loak w hich w inds o ver h is r ight t high a nd

a c ap . A p air o f f lutes l ie d iscarded i n t he f oreground . C arved i n l ow r elief i n t he b ackground a re t hree s tanding M uses , t heir a ttention e ngaged i n t his s cene , r ather t han t he a djacent c ontest, w here t heir s ix c olleagues a re o ccupied . b ) F ront p anel; c entral s cene: B acchus l eaning o n t he s houlder o f a yo uthful s atyr m arks t he l eft e xtremity o f t he c ontest s cene ; b ehind h im , i n lder s ilenos . A n e nthroned C ybele t he b ackground , t he p rofile h ead o f a n o n s ome o bject , p erhaps a t ympanon ; c omes n ext, d amaged r ight h and r esting o b eneath h er s eat c rouches a l ion . S he o bserves t he c ontest . I mmediately t o t he r ight s tands A thena ; h er l eft h and, w hich i s r aised u p t owards Marsyas,

may - r ather t han o ffering e ncouragement - o nce h ave h eld h er

s pear , a s t races b y h er k nee s uggest . C ybele t here i s a t ree .

I n t he b ackground b etween h er a nd

M arsyas a ppears o n t he c entral a xis o f t he p anel , v iewed f rontally , b ut t aking a g reat s tride t o t he l eft . I n d oing s o , h e s traddles a b earded r iver g od w ho r eclines a t h is f eet , h is r ight e lbow o n a n u pturned p itcher , h is l eft h and c lutching a r eed . M arsyas ' h ead a nd a rms w ere d irected t o t he r ight ; t he a rms , n ow s everely d amaged w ith t he f lutes g one c ompletely , a re p lainly r aised u p i n a n a ctive f luting p osture . An ebris d escends f rom M arsyas ' l eft u pper a rm . A pollo i nclines a way f rom t he s atyr , t owards t he r ight, i n a v igorous v ersion o f t he c onventionalised s eated p ose i n w hich t he A pollo C itharoedus a ppears w ith l eft l eg e levated , t he f oot s upported o n a b lock ,

l edge ,

g ryphon o r o ther c onvenient p rop .

I n t his c ase ,

t he l yre

r ested o n h is k nee . H is r ight a rm r eached d own t o t he l eft, t owards M arsyas ; t he r ight h and , w hich m ay h ave h eld t he p lectron , i s l argely b roken a way. T he f inal m ajor f igure , t o t he r ight o f t he g od , i s a s econd majestic s eated g oddess, b alancing C ybele a t t he l eft . I f t his i s h er r ole i n c ompositional t erms, t hen i t a lso s eems l ikely s he s hould a ppear a s a p artisan f or A pollo , i n t he s ame w ay t hat C ybele i s c onnected i ntimately w ith M arsyas . P erhaps s he i s L eto , m other o f A pollo , a lthough i n c ertain e xamples i t s eems H era w as i ntended . B ehind t his g oddess , w ho m ay h ave h eld h er r ight h and r aised t o h er h ead, t o j udge f rom s urviving t races, s tands a n u nidentified m ale f igure, p erhaps H ermes.

i n

R anged i n t he b ackground o f t his s cene a re s ix m ore M uses , a ll d epicted s hallow r elief . I f t heir d isposition c an b e t aken a s a v oting

p reference, t hen t hey f avour A pollo f our t o t wo. c F ront p anel ; r ight s ubsidiary s cene : A t t he e xtreme r ight t here h angs a f rontal M arsyas, h is h ead t urning a l ittle t o t he l eft where, i n t he f oreground , t here c rouches a S cythian , n ot s harpening h is b lade , b ut r ather c ommencing t he f laying o peration . H is l eft h and r eaches f orward t o g rip

1 76

M arsyas '

r ight

s hin ;

h eld t he k nife ,

u nfortunately h is

i s m issing .

r ight

A s econd,

a rm ,

w hich must

s urely h ave

m ore e xtensively d amaged S cythian

s tands b eside t he f irst; h e s eems t o h ave b een c oncerned w ith s ecuring M arsyas t o t he t ree . d )

R ight e nd p anel :

A M use s tands a t

h er l eft l eg c rossed b efore t he r ight , s hort c olumn b eside h er .

t he l eft,

s een i n r ight p rofile ,

p erhaps l eaning o n t he ( slightly t oo)

I n h er l eft h and s he h olds a f lute ( ?) , w hile h er

r ight m akes a n i nterlocutory g esture t owards A pollo , s tool .

H is l eft e lbow r ests u pon h is

s eated f acing h er o n a

l yre a nd h e e xtends h is

r ight h and

t owards t he M use i n ag esture m ore o f d iscussion t han g od-like c ommand . T his s cene may b e s een a s a p endant t o t he main p unishment s cene; a s imilar c ombination o f f igures r ecurs s everal t imes i n t he c ontext o f M arsyas' p unishment. T he s cene o n t he l eft e nd p anel i s u nconnected, s howing a t oga-clad f igure, s eated a nd r eading f rom a r oll. A .D .

1 70/80 - 2 00.

Matz-Duhn n o . 3 155; R obert, A SR I II, 2 51 n o . 2 01; G . A stor, S tatuary a nd S culpture a t H ever

( 1969)

c onnections,

A A ( 1977)

S arkophage '

J dI

c onnections) ;

X III

9 3

D AIR

8 n o .

4 32-36 ; ( 1978)

H .

7 2;

i ncluded

J ung ,

3 47;

' Zum

i n

s urvey

R eliefstil

K och-Sichtermann ,

d er 2 62

o f

workshop

s tadtrömischen f .

( workshop

7 8 .2090-2092 .

L ost . F ront p anel o f a s arcophagus . D rawn i n R ome i n t he m id 1 6th c entury : C oburgensis f ol . 1 63 n o . 1 56 ; e ven t hen , s everely d amaged . ( fig. 5 4).

a ) ( Left s ide) A r iver g od r eclines i n t he l eft f oreground , r ight h and r esting o n a f lowing u rn ; h is b roken away l eft h and m ay h ave b een e xtended t o g esticulate t o A thena . H e f aces t owards t he r ight where A thena i s p erched s lightly a bove h im , h er r ight f oot s et u p o n a r ock . f rontally ,

b ut

t urns h er b ody a l ittle

t o

t he l eft;

S he i s v iewed

t he e levation o f t he

s urviving p ortion o f h er a rms i ndicates s he must h ave b een b lowing t he f lutes. H er h ead i s missing, c haracteristic p ose , s he i s r eadily

b ut b esides t he d istinctive a nd i dentifiable b y t he a egis a cross h er

b reast. I n t he b ackground t here i s a r ocky e scarpment o n w hich i s l ocated a n o x ( instead

o f

t he m ore u sual

f igure

o f

M arsyas)

a nd ,

t o

t he

r ight,

a t ree ;

c onceivably t he o x i s as purious a ddition t o r eplace a l ost M arsyas f igure . b )

( Central a rea)

A s ingle f igure o ccupies t he c entral a xis o f t he p anel ;

f emale a nd o f i mposing s tature , p latform .

m ight h elp i dentify h er . b ut n o a egis r eferee ;

s he s its f rontally ,

i s

s hown . .

H er c ostume a pproximates t o t hat o f A thena i n a , R obert

A thena c ertainly a ppears

s ees

i n

t his

t o f ulfil

o f

f eatured

t he

c ontest

i n t he

o n t he a sh-chest

c entral

f oreground ,

1 7

f igure a g oddess

a nd s he a ppears a s w here ,

p erhaps

a s h ere ,

a v oting

A thena e xtends h er s urviving r ight a rm t o t he l eft,

1 77

a cting

a s

t he r ole o f a djudicator i n t he

w all-painting 7 a nd s arcophagus s cene X I e , f igure

r aised u p o n a l edge o r

H er h ead i s m issing a nd n o s pecific a ttribute i s d epicted w hich

u rn .

t he p ivotal

a l arge u rn i s T his

p utative

p erhaps t o i ntroduce a s

v ictor t he s eated A pollo s tationed o n a b lock a t h er s ide .

A s i f t o

c onfirm t his , a w inged N ike b earing a p alm a pproaches h im f rom t he l eft . T he g od , l acking b oth r ight a rm a nd l eg , w as d raped a cross t he t highs a nd s upported h is l yre u pon h is r ight k nee . H e f aces t owards t he r ight , w here M arsyas s tands . A ll t hat s urvived t o b e r ecorded w ere t he s atyr 's t orso a nd l eft a rm , t railing t he n ebris ; b ut t his i s e nough t o s how t hat , w hether o r n ot h e c ontinued t o p lay t he f lutes, h e was p rogressing t owards t he r ight, a lthough i s b ody w as p resented f rontally . T he p rincipal f igures t o t he r ight o f Marsyas a dhere t o t he t ypes c ommonly e ncountered r epresenting B acchus l eaning o n t he s houlder o f a y outhful s upporter ; B acchus ' f ree l eft a rm r eaches o ut t o e mbrace a s tocky f igure o n t he r ight, maybe a n o lder s ilenos; a ll t hree l ack h eads . B esides t he r ank o f M uses d ispersed t hroughout t he b ackground o f t he c ontest ( six o r s even a re v isible) ,

t here a re f ragments o f a f inal f igure c rouching

i n f ront o f t he B acchic t rio . I ndeed t he y outhful s upporter s eems t o g esture t o d raw a ttention t o t his f igure , w hose p reserved s houlder ( the f igure f aced t owards t he l eft) s hows t races o f a c loak . T his i s u nlikely t o b e aS cythian k infe-grinder s ince s uch a f igure b elongs i n t he s ubsequent s cene , a nd i ndeed t here a ppears t o b e a ppropriate r emnants i n t he e xpected p osition ( see b elow) ; m ost l ikely t his w as t he p leading O lympos - t his a nd t h n ext s cene b eing a m odified c onflation o f e lements f ound i n X II a - c . c ( Right s ide) M arsyas h angs f rom a t ree a t t he r ight , s een i n t hree q uarter v iew f acing s omewhat t o t he l eft ; h is f eet a re f ully i n c ontact w ith t he g round . Ah eadless S cythian s tands t o t he l eft, a ttending t o t he s atyr 's s uspended w rists . H is d rawn-back r ight l eg , t ogether w ith p art o f t he a djacent f igure o n t he l eft, i s o bscured b y a n a rea o f d amage c onsonant w ith t he b reaking a way o f a f igure f rom t he a rea n ormally o ccupied b y t he S cythian k nife-grinder. L ate 2 nd c entury A .D .? R obert, A SR I II , 2 49 n o . 2 00.

X IV

P alazzo M attei , R ome . T hree f ragments p anel ( restored) . D imensions -

f rom

a s arcophagus

f ront

T he d rawing i n R obert s hows a ncient f ragments m inus s tucco r estorations.

a

L arge f ragment

( from t he c entral a rea o f t he p anel) :

A t t he l eft i s

t he u pper t orso a nd h ead o f a y outhful r eclining r iver d eity , f acing t o t he l eft . A bove h is h ead i s t he p ouring p itcher o f a nother w ater s pirit , n ow missing . T hese r emnants i mply t hat o riginally t he s cene o f A thena r egarding h er r eflection a s l eft.

s he

p layed

t he f lutes

w as

r epresented

t o t he

T o t he r ight o f t he r iver d eity i s s eated C ybele , h er r ight a rm r esting o n t he t ympanon ; s he i s s een i n t hree q uarter v iew , f acing t owards t he r ight . D irectly a longside i s t he d amaged f igure o f t he c ontest-scene A thena - h er s andal-clad f oot , s pear a nd s houlders s panned b y t he a egis b eing a ll t hat s urvives . I n t he b ackground b etween C ybele a nd A thena , t he h ead a nd s houlders o f w hat i s a lmost c ertainly B acchus , a nd a p ortion o f t he h ead o f aM use.

1 78

N ext

c omes

Marsyas

( left

a rm

a nd

l eg,

a pparently s tepping t owards t he l eft a nd ,

a nd

t orso

o nly p reserved),

t o j udge f rom t he p osition o f h is

a rm , p laying t he f lutes ; h is b ody i s m ore o r l ess f rontally p resented .

T o

t he r ight o f M arsyas, a nd s eparated f rom h im b y ah eadless f emale w ho m ay b e a M use ,

i s

A pollo

( torso

a nd

t highs

o nly) .

V iewed

f rom

t he

l eft l eg r aised a nd c ithara s upported b eside h im a t t he

f ront,

r ight,

w ith h e

i s

a ccompanied b y a Muse w ith a t ragic mask a nd, a t h is f eet, a g ryphon ; f inally , c rouching l ow b efore A pollo , a s mall f igure i n e astern c ostume , v iewed f rom b ehind, O lympos ( cf.

h is h ead t urning o ver h is l eft s houlder - p erhaps

1 a nd X VIII b ).

b ) F ragment ( two f igures) : A t t he l eft, t he d raped s houlders o f a f emale f igure , p erhaps a nother M use ; a bove a nd t o t he r ight, t he t orso , r ight a rm a nd l eg o f am ale s een i n r ight p rofile .

H is p osture a nd e levation s uggest

h e m ay b e t he S cythian e xecutioner 's a ssistant w ho s ecures t ree . t he

T he f ragment s arcophagus

i s

M arsyas

t o

t he

l ikely t o o riginate f rom t he r ight-hand p ortion o f

i n a ny c ase,

a s

t he

f igures

p ortrayed

a re

n ot

t hose

e ncountered i n A thena f luting s cenes .

c )

F ragment

( one

t o t he l eft.

f igure) :

A b earded

a nd

r eclining

r iver

d eity ,

f acing

A longside h im a t t he r ight, t he c oils o f a s ea-serpent?

Two l eft-facing r eclining r iver d eities would a lmost c ertainly b e e xcessive f or t he A thena f luting s cene t o a ccommodate a nd t here i s n o s pace f or t he f igure b eneath M arsyas ' l eg ,

a s i n X II b .

H e c ould o nly b elong t o

t he p eriphery o f t he p unishment s cene , w here a y outhful ( and b eardless) r iver d eity i s f ound o n X VIII, b ut t he b eard a nd c oils a re a nomalous f eatures .

A lthough c ombined i n r estoration w ith

t he

o ther

f ragments

a nd

l inked b y M atz a nd R obert, t his may p erhaps b e a n a lien f ragment . L ate 2 nd t o e arly 3 rd c entury A .D . J ahn ( supra n o . V - 1 869) 1 6, A 5 0; Matz-Duhn, n o . 3 156; R obert, A SR I II, 2 53

n o .

X V

2 02 ;

D AIk i 7 2 .2961 .

N y C arlsberg G lyptotek , S arcophagus,

C openhagen ; N C 8 44 .

b luish marble .

F ound 1 886 n ear S idon .

8 4 x

2 08 c m . ( fig. 5 5). T he f ront p anel s hows s cenes f rom t he M arsyas s tory.

a )

( Left s ide)

f igure) ,

M arsyas p eers o ver a r ocky l edge a t t he u pper l eft ( a h alf-

a c loak o ver h is l eft s houlder ,

h is l eft a rm r aised .

T he h and ,

a pparently h olding a f lute, which t erminates t his a rm d oes n ot s eem t o b elong ,

a nd a j oin i s v isible ; t his m ay b e A thena 's m issing l eft h and o r a

s purious a ddition . T o t he l eft a nd r ight o f Marsyas, a s mall t ree . D irectly b eneath Marsyas r eclines a y outhful male s pring d eity, f acing t owards t he r ight, h is r ight e lbow r esting o n a n u pturned p itcher ; h is l eft a rm ,

n ow m issing ,

w as e xtended s lightly i n t he d irection o f A thena .

a re g rowing i n t he b ackground b ehind h im . s eated t o t he r ight .

A thena l ooms

R eeds

o ver t his f igure ,

H er r ight f oot i s p laced u p a bove h im a nd s he t wists

h er u pper b ody t owards h im a s s he p lays - h er c heeks b ulge a nd h er r ight a rm i s

i n a n a ppropriate p osition ,

b ut

t he f lutes

1 79

t hemselves a nd h er l eft a rm

a re m issing. b

( Central

s cene)

T he

f irst

f igure

e ncountered

i s

r aised o ver h is h ead , h is l eft h and h olding a t orch .

B acchus,

r ight

a rm

S econd f rom t he l eft

i s C ybele , e nthroned o n a r ock , t he t ympanon h eld i n h er l eft h and , w hich t raverses h er l ap . A d iminutive l ion s talks f rom b ehind h er s eat . T o t he r ight o f C ybele i s A thena ,

h er h ead t urned b ack t owards h er n eighbour ;

h er

l eft f oot i s s et u pon a r ock a nd h er n ow d amaged a rms may o nce h ave h eld a s pear. J ust

t o

f lutes .

t he

r ight

o f

t he c entral a xis o f

V iewed f rontally ,

t o t he r ight, t owards h is a dversary . h is r obe a nd p edum . r aised

o nto

t he p anel

M arsyas b lows t he

h e t akes a p ace t o t he l eft b ut

t urns h is h ead

F orming a b undle b etween h is l egs a re

A pollo i s p erched o n a h igh r ocky s eat,

a l edge ,

w ith t he

l yre

s upported

a bove h is

h is

l eft f oot

l eft k nee .

H is

e xtended r ight l eg c rosses b efore t he b raced l eft l eg o f M arsyas ( as o n X II , X VI, X VIII, X IX) . W ith h is r ight a rm, n ow b roken b elow t he e lbow, h e g estured t owards t he s atyr . T o t he r ight o f A pollo i s a s econd s eated g oddess ; w ith h er r ight h and t o h er f ace , s he l ooks t o t he r ight, w here t he p unishment i s b eing e nacted. R anged i n t he b ackground a re s even M uses, t wo t o t he l eft o f M arsyas, f ive t o h is r ight. T he M use f arthest t o t he r ight w ears a ( comic?) m ask. C

( Right

s ide) M arsyas h angs a t

t he r ight

t he t wo e xecutioners t o t he l eft ;

i n t hree q uarter v iew ,

b oth w ear P hrygian c aps .

O ne ,

f acing

a k nife-

g rinder w ith t he b lock b efore h im , i s c rouched i n t he f oreground ; t he s econd a ppears t o b e a djusting M arsyas' b onds. T he d ecoration o n t he s arcophagus l id e xtends t he p rogramme b elow. . D ramatic masks t erminate t he c orners; a p ortrait b ust i n t he c entre i s f lanked b y a r ecumbent A pollo with a g ryphon o n t he l eft, A rtemis w ith a h ound o n t he r ight .

a r ecumbent

I n e ach c ase s eparated f rom t he d eity

o n t hat s ide b y a b ow a nd q uiver, a d ramatic Muse l ies a t t he l eft, t he l yric M use o n t he r ight, b ringing t he t otal o n t he s arcophagus t o n ine . A .D . 2 00 - 2 10. R obert , A SR I II ,

2 60 n o . 2 08 ;

i ncluded i n s urvey o f w orkshop c onnections, A A

( 1977) 4 32-36 ; J ung ( supra n o . X II) 3 48-9 a nd f ig .

1 3 ;

f . ( workshop c onnections) ;

4 62 a .

X VI

L IMC I I ,

1 , p .

M useo T orlonia a lla L ungara , R ome .

4 27 n o .

K och-Sichtermann ,

2 62

D amaged l enos s arcophagus ; f ound

o n t he V ia P ortuense . 9 5 ( max.) x 2 05 c m .

M ost o f t he u pper a rea i s b roken a way .

I n t erms o f a llocation o f s pace, b etween

t he

t hree

s cenes,

t here

i s a more e ven e mphasis

p robably a r esult

o f

t he

c ontinuous

a nd

e xtended f ield p rovided b y t he o val s arcophagus .

a ) ( Left s ide) A t t he l eft, a r ocky l edge a nd o n i t a l eg , p robably t hat o f a f ull-length f igure o f M arsyas, b y a nalogy w ith X VIII , w ith w hich t his h as o ther f eatures i n c ommon . v isible, f lutes

t he

c an

r ight

b e

s een

e xtended , i n

A l ittle t o t he r ight t he l egs o f A thena a re t he

l eft

a p osition

r aised

u p .

w hich s uggests

1 80

T he

t ip o f

A thena h eld

o ne

o f

r ather

t he t han

p layed

t he i nstruments .

A thena i s

f lanked b y t wo s pring d eities:

l eft a d iminutive a nd n aive v ersion o f

a t

t he

t he s culptural n ymph w ho s its o n a

r ock ( cf. A 88), a t t he r ight a r eclining r iver d eity ( male?), f acing t he l eft,

a nd w ith t he l eft e lbow s upported o n a f lowing p itcher a nd t he l eft

h and h olding a r eed. b )

( Central s cene)

u nidentifiable

A djacent t o t he r iver d eity o f t he l ast s cene s tands a n

l ong-robed

f emale ,

l ocated

t o

t he

l eft

o f

C ybele 's

t hrone .

T he g oddess i s a ccompanied b y h er l ion o n t he l eft a nd, t o t he r ight, a c hild , p ossibly A ttis . M arsyas i s s et i n t he f amiliar f rontal s triding p osture . h ead ,

T here s eem t o b e t races o f h is n ebris a round h is s houlders ;

a rms a nd u pper s houlders a re l acking .

B etween h is l egs,

h is

h is s yrinx

h angs b y i ts s trap f rom h is p edum . A pollo i s d epicted a s p reviously , w ith h is r ight l eg e xtended a nd l eft l eg r aised u p ; h is l yre a ppears a t t he r ight r esting o n ag lobe s upported i n a t ripod .

T hough m issing h is r ight a rm , i t

i s p ossible t o t ell f rom t he s tump t hat A pollo r eached a cross h is c hest p lay o r s teady h is

i nstrument.

A t

t o

t he f oot o f t he t ripod t here i s a

g ryphon, w hile u nder A pollo's r aised f oot, h is r aven i s s hown . S tanding t o t he r ight o f A pollo c omes A rtemis,

c lad

i n a s hort t unic ;

t o t he r ight o f A rtemis, a s econd e nthroned f emale , n ow h eadless . P robably t he s emi-nude m ale w ith h is l eft k nee r aised i s H ermes, p resent p erhaps i n h is r ole a s p sychopompos, c ertainly i dentifiable i n a r elated p ose a nd l ocation o n X VIII a nd X IX , o n t he l atter i mmediately t o t he r ight o f t he s eated g oddess, a s h ere. I n t he b ackground ,

t wo M uses,

o ne w ith a r aised g lobe i n h er h and a s o n

X IX . c

( Right s ide)

t he l eft . r ight

o f

M arsyas, s een i n t hree q uarter v iew , h angs f acing t owards

T here , t he

c rouching b efore h im ,

p unishment-tree

t here i s a s econd S cythian ,

a nd

a S cythian k nife-grinder .

w ith h is

w ho h auls

r ight

o n t he

k nee

r ope

b raced

w hich

T o t he

a gainst

s ecures

i t,

M arsyas ;

b oth S cythians w ear f ull e astern c ostume . T he v acant a rea a t t he f oot o f t he t ree , n ow b roken a way , m ay o nce h ave h eld a r eclining r iver d eity - a s o n X VIII. A s mall c ouchant a nimal i s j ust v isible a bove t he h ead o f t he s econd S cythian, r esembling t he t iny g oat a t t he f eet o f A thena i n a ( above). E arlier 3 rd c entury A .D . O verbeck ( supra n o . 7 1) I II, ( 1884) p l .

X VII

1 07 ;

R ome,

R obert,

V ia

4 45 n o . 3 ;

A SR I II ,

2 57 n o .

I monumenti d el Museo T orlonia 2 05 .

S . T eodoro ( Robert: with t he d ealer A lberici) .

F ragment f rom t he b ack s ide o f a n o val s arcophagus: o ne c omplete s cene , o ne p artial s cene , s eparated b y l ion-mask h andles .

6 4 x 1 58 c m .

A t t he l eft i s a s tanding f igure o f M arsyas, v iewed f rontally ( head a nd l ower l egs m issing) .

H e h olds b oth f lutes b y h is

T he n ebris i s k notted a cross h is c hest . m anages t o a ccommodate t wo p rincipal

w ithin t he f ormat) b etween t he l ion masks,

1 81

s ide i n h is

l eft h and .

A s t he c omplete s cene t o t he r ight f igures ( the t wo o thers c ompressed i t

i s l ikely t he l ost s cene t o

w hich

t his

l one

f igure

b elongs h eld o ne m ore ,

a t m ost

t wo m ore f igures .

S ince w e a lready h ave i n t he n ext s cene t he j uxtaposition o f a n on-playing M arsyas s eem

w ith A pollo ,

i mprobable .

a s imilar g rouping f or t he s cene p receding i t w ould

M ore

p lausible

s uggestions

f or a c ompanion t o M arsyas

h ere m ight b e A thena ( as X I a ) o r an ymph s itting o n ar ock ( as X I c /d). T he c omplete s cene ( figures m issing b elow t he k nees) g ives a s f igures, a t t he l eft M arsyas, a t t he r ight A pollo . i n am irrored p ose ;

M arsyas,

c hest i n h is r ight h and .

a gain w ith t he n ebris, h olds t he f lutes t o h is

H is l eft a rm , n ow m issing , w as e xtended a l ittle

t owards A pollo .

T he g od s upports h is c ithara i n h is

a rm

b ut

i s missing,

p rincipal

B oth a re s hown f rontally

s eems

t o h ave

l eft a rm ;

h is

r eached t owards Marsyas.

r ight

A pollo

p artially o bscures t he p alm-bearing N ike w ho a pproaches f rom t he r ight a nd h olds u p a w reath b ehind h is h ead . D isplaced b eneath t he l eft-hand l ionm ask t here c rouches a s mall O lympos,

h is

p leading a rms

r eaching

p ast

h is

m aster 's t highs t owards A pollo . E arlier 3 rd c entury A .D . R obert, A SR I II, 2 64 n o. 2 09 1 .

X VIII

P aris, L ouvre.

L enos s arcophagus.

7 5 x 2 18 c m .

a ) ( Left s ide) I n t he u pper l eft c orner i s t he f ull-length b ut c ompressed f igure o f t he s pying M arsyas, h is r ight h and r aised a bove h ead l evel ; h e l eans o ver a r ocky l edge l ooking d own o n A thena b elow . A t t his b ack t here i s a s mall s pray o f f oliage . A thena s its w ith h er k nees d irected t o t he l eft , a lthough h er h ead i s t urned r ound t owards t he r ight .

T he p osition o f

h er s urviving r ight a rm s uggests s he was h olding r ather t han a ctively p laying t he f lutes . B elow h er a nd t o t he r ight, t he f ocus o f h er g aze , t here

i s

a r eclining

s pring d eity ,

p robably

f emale ,

l eft

a rm

c lutching

a

r eed. b )

( Central s cene)

T he b are-chested f emale l ocation d eity s tanding a t t he

e xtreme l eft l inks t his s cene t o t he p receding o ne, s peaking s he b elongs, c ontest .

T o

t he

a longside h er .

t o which,

r ight, A thena

i n

t he

f oreground ,

s tands

l ooking

C ybele

i s

e nthroned ,

b ack t owards C ybele,

p resented f rontally a nd h er l eft f oot r aised o ver h er o wl , g round ;

h er

a rms

a re

s trictly

e ven t hough h er i nterest i s c oncentrated o n t he

m issing .

S andwiched

B acchus, h is r ight a rm r aised o ver h is h ead .

b etween

h er l ion h er b ody

r oosting o n t he

C ybele a nd A thena

i s

A b eardless s atyric h ead s een

i n r ight p rofile t o h is l eft must b e h is y outhful a ttendant, while t he b earded l eft-profile h ead o n t he o ther s ide i s p robably t he s ilenos w ho s ometimes a ccompanies t he d ivine g roup . M arsyas s tands j ust t o t he l eft o f c entre , v iewed f rontally a nd t aking a p ace t o

t he l eft,

h is h ead t urned t o A pollo .

W hile t he f lutes,

t ogether

w ith h is r ight a rm, a re missing, t he e levation o f h is l eft a rm a nd t he a pertures a t t he c orners o f h is m outh i ndicate h e w as d epicted a s b lowing t he

i nstrument .

A pollo

c onfronts

M arsays

i n h is

r ight l eg e xtended a cross t he s atyr 's l eft s hin , s et u p a bove t he b ack o f h is g ryphon . g lobe s et i n a t ripod t o t he r ight . e lbow ,

r ight h and ,

a ccompanies A pollo ;

f rontal

p ose ,

t he f oot

T he g od r ests h is c ithara o n a

H is r ight a rm ,

w as o nce e xtended t owards M arsyas .

s tandard

l eft k nee r aised ,

b roken a way b elow t he

A rtemis, b earing a t orch i n h er

t o t he r ight o f h er s tands H ermes w ith h is

r ight f oot r aised o n a n u nidentifiable p rop .

1 82

I n t he f oreground ,

a s econd

e nthroned g oddess w atches t he c ontest, h er c hin c upped i n h er r ight h and ; s he w ears a p eaked d iadem l ike t hat o f t he H era o f X IX . B eside A pollo 's t ripod t here h uddles a s mall f igure i n P hrygian d ress, p robably O lympos . T here a re f ive M uses r anked i n t he b ackground , i ncluding a t t he r ight U rania ( ?) w ith a g lobe a nd, i mmediately t o t he l eft o f A pollo, T halia h olding u p ac omic m ask . c )

( Right s ide )

A k nife-grinder i n e astern d ress, s een i n l eft p rofile a nd

g lancing b ack o ver h is l eft s houlder , a ppears a t t he l eft .

H is a ccomplice

h auls o n t he r ope a t t he r ight . T he t ree i s t here b etween t hem, b ut M arsyas i s g one . A t t he f oot o f t he t ree r eclines a y outhful s pring d eity , f acing l eft a nd w ith a r eed i n h is r ight h and . A .D . 2 20 - 2 30. P . G auckler , C atalogue s ommaire d es m arbres a ntiques d u L ouvre ( 1896) 6 0 n o . 9 72; R obert, A SR I II, 2 55 n o . 2 03 ; i ncluded i n s urvey o f workshop c onnections ,

X IX

A A ( 1977) 4 32-36 .

P alazzo

D oria ,

A urelia .

R ome .

L enos

s arcophagus ;

f ound

i n

1 824 o n t he V ia

8 9 x 2 18 c m .

( figs. 6 , 4 0, 5 6).

a )

( Left s ide;

f ig . 6 )

A thena i s s hown i n t hree q uarter v iew ,

f acing

ri ght . H er l eft f oot i s r aised u p o ver a r eclining s pring n ymph w ho h as a l arge r eed i n h er r ight h and a nd r ests h er l eft e lbow o n af lowing p itcher . T he n ymph 's l egs a re d irected t owards t he l eft a nd s he l ooks u p t owards A thena . T he g oddess h olds a f lute i n e ither h and , b ut d oes n ot p lay . T o t he l eft t here i s a s tylised t ree . T he s emi-nude male f igure b ehind a nd t o t he r ight o f A thena s eems i n f act t o b e a s taffage f igure f rom t his s cene , a lthough h is a ttention i s c learly f ocused o n t he n ext . b ) ( Central s cene ; f ig . 5 6) T he t ragic M use M elpomene s tands a t t he l eft , be hind t he t hrone o f C ybele . V eiled , t he g oddess r ests h er r ight e lbow o n t he t ympanon h eld i n h er l eft h and; i n h er r ight h and s he h olds a l eafy w and ; b y h er w ith a p edum h er t hrone . A thena ; t his l iquid f lows .

k nees s tands a c hild d ressed i n e astern c ostume a nd e quipped a nd s yrinx - p robably A ttis . C ybele 's l ion i s s tationed b y O nce m ore B acchus a ppears i n t he b ackground b etween C ybele a nd t ime h is u praised r ight h and h olds a r hyton f rom w hich s ome T he y outhful h ead t urned t o t he l eft w hich i s v isible b ehind

B acchus ' e lbow m ay b e a s atyr - t he g od 's y oung c ompanion . A thena l ooks o ver h er s houlder t owards C ybele , r esting h er w eight o n t he s pear w hich s he h olds i n f ront o f h er w ith b oth h ands . L ightly r endered o n t he b ackground b ehind h er a nd B acchus t here i s a s wag o f d raped m aterial . M arsyas ' s tride t owards t he l eft b rings h im b efore A thena, p artially o bscuring h er ; h e i s v iewed f rontally a nd s till p lays t he f lutes . T he w ay M arsyas o verlaps A thena h ighlights a g eneral c ompression o n t he l eft s ide o f t he r elief ; t his h as a risen b ecause M arsyas , p reviously a ppearing o n , o r i mmediately t o t he l eft o f t he c entral a xis , h as b een r elocated f arther l eft t o a llow t he s etting o f A pollo d irectly o n t he c entral a xis . A pollo r etains h is u sual f ormal i nstrumentalist 's p ose , l eft f oot s et u p o n ap rojecting l edge , c ithara s upported o n h is k nee ; h e r eaches a cross w ith

1 83

h is r ight h and t o a pply t he p lectron t o i ts s trings a nd t urns h is h ead t owards M arsyas . B oth h e a nd M arsyas h ave s mall s pace-filling e lements b etween t heir l egs : t he s atyr a n a nimal s kin h ung o n a t ree-branch , t he g od a r aven p ecking a t a t abula .

T o t he r ight o f A pollo 's r aised l eg t here i s

a lso a g ryphon . S triding o ut f rom b ehind h er b rother 's c ithara c omes A rtemis,

n ot

p resented a t a ll a s s omeone c oncerned w ith t he c ontest , b ut i n ab elligerent s tatuesque p ose, b ow h eld a t t he r eady a s h er r ight h and r eaches t o h er q uiver .

T o t he r ight o f t he g oddess, a nd l ike M elpomene s hown f ull l ength ,

i s E uterpe , h olding a f lute i n e ither h and a nd o bserving t he c ontest .

T he

s eated f emale a t t he r ight, w ho c orresponds t o C ybele a t t he l eft, h as a d istinctive p eaked d iadem a nd h olds a c eremonial s taff i n h er l eft h and , a nd a p omegranate i n h er r ight, w hich must s urely i n t his c ase g ive a n i dentification a s H era f or t his o ften e nigmatic f igure .

I n t he b ackground

t o t he r ight i s H ermes, h is c aduceus c learly d isplayed , o ne f oot s et u p o n a r ock . T he b ackground i ncorporates t hree f urther M uses . c ) ( Right s ide ; f ig . 4 0) L ow d own t o t he l eft r eclines a y outhful r iver d eity w earing a P hrygian c ap . H e i s s een f rom b ehind ; l ooking u p a t t he e xecution , h e r eaches o ut h is r ight h and t o t he h anging M arsyas .

T he s atyr

i s m odelled a lmost f ully i n t he r ound a nd , f ollowing t he c urvature o f t he r elief, i s s hown f rontally , a s pray o f f oliage b ehind h is w rists . T o t he r ight , a nd i n l ower r elief , t here i s as tanding S cythian h auling o n t he r cpe w hich s uspends h im . D ressed i n e astern c ostume , t he e xecutioner s harpening t he b lade c rouches t o t he r ight o f Marsyas, C losing t he s cene a t b efore h er l eft ,

t he r ight

l ooking u p a t h is v ictim .

i s a s tanding n ymph w ho ,

r ight l eg c rossed

s upports h erself n onchalantly o n a s tout r eed-staff .

M id t o l ater 3 rd c entury A .D . E .

G erhard,

A ntike B ildwerke

( 1828)

P l.

L XXXV,

1 ;

Matz-Duhn n o .

R obert, A SR I II , 2 59 n o . 2 07 ; W egner , p ls . 1 47 a a nd b ;

3 157;

S ichtermann-Koch ,

4 0

n o . 3 6, p ls . 8 2,2, 8 6-89 ( ca . A .D . 2 30); i ncluded i n s urvey o f w orkshop c onnections, A A ( 1977) 4 32-36 ( A .D . 2 70 - 8 0).

X X

C ourtyard

o f

s arcophagus ;

t he M useo N azionale R omano ,

H eight: 4 3 c m . ( figs. 5 ,

R ome ;

n o

i nv .

n o .

L enos

s everely d amaged . ( front: c a. 6 - 3 0 c m .); l ength :

2 14 c m .

1 8, 5 7).

T he t op p ortion o f t he f ront o f t he s arcophagus

i s b roken a way ;

a t

t he l eft, f igures a re p reserved b elow waist l evel; a t t he r ight, m ostly o nly f eet r emain . T o

t his

s arcophagus

b elongs

t wo

l arge

f ragments

p reserved

i n

d ifferent l ocations: a s izeable p ortion f rom t he c entre o f t he f ront, i n t he N ational G allery , h and e nd ,

O slo ;

a nd a l arge p ortion f rom t he r ight-

m ade u p o f an umber o f s maller p ieces,

i n t he M etropolitan

M useum , N ew Y ork .

a ) ( Left e nd ; f ig . 5 ) A thena s its f ramed b etween t wo t rees ; s he i s v iewed f rontally , h er l eft l eg r aised u p w ith t he f oot r esting o n a r ock . O n t he g round t o t he r ight,

h er o wl .

H er h ead a nd l eft a rm a re m issing ,

b ut t he

f lutes s urvive , h eld o ne i n e ach h and a nd a ngled a cross h er b ody t owards t he

1 84

l eft ;

c learly s he w as n ot p laying t hem .

T he h andling o f t he c arving a t t his e nd i s r ather c oarse a nd s ketchy. b )

( Front/main

y outhful

s cene ;

t orso

f ig .

a gainst

p resumably

t he

c ompanion .

T o t he r ight

t he r ight; s upport,

5 7)

i .

which

f amiliar

R ome

t he

l ower

g rouping s tands

o f

s ection :

A t

p ortions

t he

g od

o f

t he

l eft

B acchus

s upported

t he l ower h alf o f a M use ,

b y

a n ude , i ncline,

h is

y oung

f acing t owards

h er l eft l eg c rosses b efore t he r ight a s s he l eans o n s ome

p erhaps t he b ack o f C ybele 's t hrone ;

h olding a r oll ( attribute o f P olyhymnia) ,

h er l eft h and i s j ust v isible

i ts p osition i ndicating i t c rossed

b efore h er b ody . F arther t o t he r ight, t he b ack o f C ybele 's t hrone , h er l ion s tationed a longside , t he k nees o f t he g oddess a nd t he t ympanon h eld i n h er l eft h and c an a ll b e s een c learly . J ust t o t he r ight o f C ybele 's f eet M arsyas ' r ight f oot a nd l ower l eg c an b e made o ut, a nd t hen h is l eft f oot, t he l eg g one c ompletely . S till , i t i s e vident f rom t hese t races t hat t he p osture o f M arsyas w as a l ittle d ifferent f rom t hat s een o n an umber o f o ther s arcophagi : h is l eft l eg , t he r ight. a nimal s kin . I t

c an

h is w eight r ested m ore o n

w ith t he r ight s et o ut t o t he s ide ; h e w as f acing s lightly t o B etween Marsyas ' f eet a re t he r emains o f h is p edum a nd a n

b e

r epresented a t,

s een f rom

t he

l ocation o f h is

g ryphon t hat A pollo was

o r e xtremely c lose t o t he c entral a xis .

T he g arment h em

t railing o ver t he h indquarters o f t he b east - mating with t he d rapery d escending f rom t he s eat o f A pollo o n t he O slo s ection - i ndicates t hat A pollo w as s hown a stride a nd o verlapping i t ; c ommonly t he g ryphon i s s et t o o ne s ide .

I nsufficient t races r emain t o c onfirm a bsolutely t he e xact

p osition o f A pollo 's f eet . T owards t he r ight t he t oes a nd l ower e dge o f t he s tately r obes o f a s eated f emale f igure a re p reserved i n

t he

p osition t hat

H era/Leto u sually

o ccupies a t t he c ontest . D irectly a longside , t owards t he r ight-hand m argin o f t he s cene , c omes t he h eadless b ut o therwise w ell-preserved b ody o f a r ecumbent f igure i n e astern c ostume , n ot o ne o f t he e xecutioners,

s ince

p resented i n a d istinctive r ear v iew ;

t heir

p resence

i s

i ndicated

e lsewhere ,

t his i s s urely t he r eclining O lympos f ound i n o ther c ontest s cenes . p osition o f t he s urviving l eft h and c onfirms w e a re l ooking a t t he f rom

b ehind ;

t he l egs e xtend t o t he r ight .

f igure e xist o n Marsyas

s arcophagi:

T he t orso

T wo c lose p arallels f or t his

t he s emi-nude r iver d eity w ith a

P hrygian c ap o n X IX , a nd t he small b arbarian f igure a t t he r ight o f t he c ontest s cene o n X IV a - w here t he t wisted b ack-view a nd h anging f olds o f t he c loak a re n ear-identical ; ( Front/main

s cene ;

f ig .

a r elated f igure i s a lso f ound o n X VIII . 1 8)

i i .

O slo

f rom t he h ead t o a round k nee l evel;

f ragment :

F igures

a re p reserved

t he l ine o f t he b roken l ower e dge

c orresponds c losely w ith t he b reak o n t he c entral a rea o f t he R ome s ection . A thena i s s hown s tanding a t t he l eft,

h er l eft k nee r aised u p , h er h ead

t urning t owards t he l eft i n a f amilar p osture; s he was a djacent t o t he C ybele o f t he R ome s ection .

I n t he b ackground b etween A thena a nd M arsyas

t here i s a Muse who h olds b efore h er i n h er l eft h and a f lute, which i dentifies h er a s E uterpe . M arsyas s tands m ore o r l ess f rontally , b ut t urning a l ittle t o t he r ight,

h is w eight

s et o n h is

l eft

l eg ,

h is

r ight

e xtended t o t he s ide . T he f lutes a nd most o f Marsyas ' r ight a rm a re m issing , b ut t he p osition o f h is h ands a nd t he d istortion o f h is c heeks a nd

1 85

m outh r eveal h e w as d efinitely p laying .

T o t he r ight o f M arsyas ,

b etween

h im a nd A pollo, a re t wo f urther M uses. A pollo i s r epresented i n h is a ccustomed p osture , p erched o n a d raped l edge , h is l eft k nee r aised u p , h is r ight l eg s tretched o ut . T o t he l eft a nd b ehind t he g od 's r ight k nee , t races o f t he g ryphon . A pollo , h is h ead t urned t owards M arsyas , e xtends h is r ight h and , f ormerly g ripping a p lectron i t s eems, t o h is o pponent. T he l acuna b etween A pollo a nd t he f ragment i n N ew Y ork f rom t he r ighth and e nd c ontained t he f igure o f H era/Leto , a s n oted a bove , a nd p robably , t o j udge f rom t he s arcophagi w ith w hich t his w ork h as m ost i n c ommon ( notably X VI, X VIII, X IX), A rtemis, H ermes, a nd p erhaps f urther M uses. c ) ( Right s ide ) i . R ome s ection : O verlapping t he f eet o f t he r eclining ' a lympos ' a re t he f oot a nd f ragmentary k nee o f a k neeling , t rousered f igure , t he k nife-grinder . N o t race o f M arsyas r emains, b ut t o t he l eft o f t he t ree-trunk b y t he S cythian 's k nee t here i s a f lute , a nd t o t he r ight o f t he t runk , a f ragmentary s yrinx a nd p edum . T he l eg o f a s econd, s tanding e xecutioner i s v isible t o t he r ight o f t he p edum . ( Right s ide ) i i . N ew Y ork f ragment : A S cythian k nife-grinder , s een i n r ight p rofile, i s a t w ork , h is h ead r aised t o l ook t owards t he l ongb earded M arsyas h anging a t t he r ight ( legs a nd l ower b ody o f M arsyas m issing) . A t t he e xtreme l eft o f t he f ragment c an b e s een t he r ight h and a nd c lothed a rm o f t he r eclining ' Oly inpos% P arts o f t he t ree , a pparently a s pruce , a re c arved b ehind M arsyas , t o t he r ight o f w hich s tands a s econd S cythian , h auling o n t he r ope w hich h olds M arsyas t o t he t ree. M id t o l ater 3 rd c entury A .D . O n t he R ome s ection : G . Mancini, N Sc ( 1913) 1 17 f . , n o . 1 ; B artoli ( supra n o . 9 2) 1 f f ., f ig . 1 ; L . B erczelly , K unst o g K ultur 5 6 ( 1973) 3 4, 3 7, 3 9; L . Muss° i n : A . G iuliano ( ed .), Museo N azionale R omano , l e s culture I , 3 ( Giardino d el C hiostro) ( 1982) O n t he 8 5. O n

O slo

f ragment :

B erczelly ,

t he N ew Y ork f ragment :

( 1903-31)

4 2,

f igs .

8 2

1 1

f f"

n o .

I II ,

l oc .cit . ;

1 4 .

M usso ,

D AIR 6 3 . l oc .cit . ,

8 61/2 . w ith

p hoto

p .

C . A lexander i n M etropolitan M useum S tudies 3

a nd

1 2;

A .M .

M cCann ,

R oman S arcophagi i n t he

M etropolitan M useum o f A rt ( 1978) 7 9 f f" n o . 1 3, f igs . 8 7-89 ( A .D . 2 102 30) ; i ncluded i n s urvey o f w orkshop c onnections, AA ( 1977) 4 32-36: A .D . 2 60-270 . L inking a ll t hree s ections:

X XI

L ouvre,

P aris;

A urelia , 1 853 . ( fig . 5 8) .

S ichtermann i n : K och-Sichtermann ,

G allerie

Mollien

2 347 .

1 58 n ote 5 .

S arcophagus,

f ound

V ia

1 05 x 2 20 c m .

W hile t he f ront p anel d epicts t he c ontest a nd t he f laying o f M arsyas , t he t wo e nd p anels a ppear t o s how s cenes s upplementary t o t he l ast p art o f t he s tory . T he e nd s cenes a re n aively c omposed a nd s carcely m ore t han r oughed-out .

1 86

a )

( Left e nd)

W ith h is b ack t o a t ree a t t he l eft, a l arge ( seemingly

i thyphallic) A pollo s its o n a r ock ,

s een i n r ight p rofile .

b alanced

t he g od h olds

h and .

p recariously o n h is

k nee ;

B efore h im s tands a M use ( or L eto ,

h er l eft h and a t orch, s uggested

b y R obert .

T he c ithara i s

a p lectron

i n h is

r ight

a ccording t o R obert) h olding i n

i n h er r ight a b undle - a v eil a nd t endril a re I f,

h owever ,

t he

' tendril '

c an b e

t aken a s

a t ail ,

t hen t his may b e t he s kin o f M arsyas b eing p resented a s a t rophy t o A pollo . b )

( Right e nd)

fr ont

p anel ;

a loft .

M ore o r l ess a v ariation o f p art o f t he m ain s cene o n t he

A pollo

s tands

a t

t he

H e i s v iewed f rontally ;

l eft

a pparently n ot h eld i n , h is l eft h and . a ( wingless) u pheld c )

p alm-bearing

g rasping

t he

p lectron

h eld

f emale

who ,

b ut

H e i s a pproached f rom t he r ight b y w ith

h er

r ight

h and,

s upports

t he

p lectron .

( Front p anel;

st atuesque p ose ; t he

s till

t he c ithara d angles b y h is s ide n ear ,

r ight.

d isappeared, p reserved .

f ig .

5 8)

A thena s tands a t t he l eft i n a f ormal a nd

s he i s p resented f rontally , a lthough h er h ead i s t urned t o

H er

o utstretched

b ut

t he

b ottom

o f

r ight

h and

t he

s pear,

a nd

t he

s pear

H er s hield i s s trapped t o h er l eft a rm .

p resented f rontally ,

i t

h eld h ave

e ntwined b y a s erpent,

s tanding t o t he r ight o f A thena ;

i s

Marsyas t oo i s

h is w eight

i s p oised

o n h is l eft l eg , t he r ight s et o ut a l ittle t o t he s ide . H is s houlders a re p ivoted t o t he r ight s o t hat h is h ead , a s h e p lays t he u praised f lutes , i s s een i n r ight p rofile . f lowing d own b ehind h im ,

A n a nimal s kin d rapes t he s atyr 's

s houlders,

a nd c arved i nto t he b ackground b etween h is l egs i n

s hallow r elief a re h is p edum a nd s yrinx. N ext t o M arsyas c omes t he s culptural t ype n ymph ( or ' M u se ' ) —s ee A 88 w ho s its o n ar ock w ith h er r ight k nee r aised a nd w ith h er r ight h and t o h er h ead, e ncountered b efore o n X I c /d . H ere s he h as b een i nserted i nto a s pace m ore f itting f or a s tanding f igure , r esulting i n a c ompressed a nd r ather e xaggerated v ersion o f t he s tandard p ose .

I n t he b ackground b ehind

h er t here i s a t ree. A t riumphal

n ude A pollo C itharoedus s tands t o t he r ight o f

t he n ymph ,

d ominating t he c entral a xis o f t he p anel; h e i s i n a f rontal p ose, t he d ispostion o f h is l ower b ody a nd l egs b eing p recisely l ike t hat o f M arsyas . T he g od 's c ithara i s s uspended a t h is s ide b y a s trap d escending d iagonally f rom h is r ight s houlder ; h e s teadies i t t here w ith h is l eft h and a s h e r eaches

a cross

w ith h is

r ight h and,

p lectron, t o p lay t he i nstrument.

a pparently g ripping

t he

d amaged

A pollo's h ead i s t urned t owards M arsyas.

A w inged N ike w ith f lying d raperies a pproaches f rom t he r ight;

s he

r aised h er r ight h and, n ow missing, a bove t he h ead o f A pollo, p robably h olding a v ictory g arland . h er r obe . A pollo . d eity ,

H er l eft h and c lutches a t t he s wirling f olds o f

O ddly, h er h ead i s t urned s harply away f rom t he v ictorious I n t he f oreground i n f ront o f N ike t here r eclines a b earded r iver

h is

r ight h and ;

l eft

e lbow r esting

o n a n u pturned p itcher ,

a r eed h eld

h is h ead i s p artially o verlapped b y t he h em o f

N ike 's

i n h is g arment

a nd h is l eft f oot e xtends b eneath t he n earer f oot o f A pollo . A t hird l ocation d eity a ppears t o t he r ight o f N ike , p erched o n a f loating r ock a nd s et u p h igh w ithin t he f ield . H is u pper b ody i s p resented f rontally w ith h is r ight a rm s tretched a cross h is c hest t o t he b unched f olds o f h is r obe i n a g raceful b ut e mpty g esture .

H is l ower b ody i s t urned t owards

a nd e choes r ather t hat o f t he s eated n ymph .

N ike; u nlike h er, h is g aze i s d irected t owards t he c ontestants.

1 87

t he l eft

B oth f eet o verlap t he l eg o f

T he

r emaining

r ight-hand

p unishment o f M arsyas .

p ortion

t here i s a n ude k nife-grinder a t w ork , a t

o f

C rouching b eneath

t he h anging s atyr .

T o t he

s tands s ecuring t he v ictim ;

r ight

p anel

i s

d evoted

' floating '

t o t he

l ocation d eity

s een i n r ight p rofile a nd l ooking u p o f

s omewhat

t he t he

t he g rinder ,

i s

a n a ssistant w ho

i llogically h is r ight

o nto t he s harpening b lock , w hich i s s till i n u se .

f oot

i s s et u p

M arsyas h angs f rontally

a t t he e xtreme r ight, h is h ead , w ith a p ained a nd p athetic c ountenance , b owed f orwards a nd a l ittle t o t he l eft . S howing a bove h is b ound w rists , a nd b ursting b eyond t he c onfines o f t he u pper b order o f t he f ield ,

t here i s

as pray o f f oliage. I ndividually t he f igures o n t he f ront p anel a re e xecuted w ith a n i mpressive p lasticity a nd c onsiderable s ubtlety ; y et t hey e xhibit a d isconcerting i solation f rom o ne a nother .

V iewed o verall ,

t he w ork n ever

t ranscends t he i mpression o f b eing c omposed f rom a p iecemeal a ssemblage o f o ften s tatuesque f igures. A .D . 2 90 - 3 00. W .

F röhner ,

N otice d e l a s culpture a ntique d u L ouvre ( 1869)

G auckler ( supra n o . X VIII) 8 4 ,

n o . 4 ; R obert , A SR I II ,

i n t he s urvey o f w orkshop c onnections, 1 77,

f ig .

1 79 ;

L IMC I I ,

1 , p . 4 28 n o .

A A ( 1977) 4 32-36 ;

4 71

1 88

a .

1 07

2 47 n o .

f f"

1 98 ;

n o .

8 5 ;

i ncluded

K och-Sichtermann ,

A PPENDIX A : G reek a nd P re-Roman I talian M arsyas w orks T he A ppendix f urnishes a l ist o f w orks t o s upplement r eferences i n t he main t ext ,

g iving a b rief d escription t ogether w ith p rincipal b ibliographic a nd

i llustration s ources .

I t i ncludes k nown R oman d irect s culptural c opies o f

G reek s tatues. T he e ntries a re g rouped a ccording t o t he e pisode d epicted , a nd a rranged c hronologically w ithin e ach g rouping.

T he l ist i s n umbered A l -A 91.

M arsyas a nd A thena A l

R oman s culptural

c opies

o f a s tatue-group a ttributed t o M yron ;

t he

o riginal p resumed t o d ate f rom t he m iddle o f t he 5 th c entury B .C . A s erene

A thena ,

p erhaps c asting d own t he f lutes,

t he s tartled s atyr M arsyas ,

i s c onfronted b y

w ho r ecoils w ith h is r ight a rm r aised i n

s urprise. M arsyas: a )

L ateran M useum , A ntonine

R ome ;

s culpture

i nv .

3 79 .

w orkshop

M arble .

F ound i n t he r uins o f a n

o n t he E squiline

i n

1 823 ;

t he

' Lateran

M arsyas'. H eight 1 56 c m . F ull l ength f igure, a rms m issing. A . A ndren , ! Der L ateranischer S ilen u nd d ie G ruppe v on A thena u nd M arsyas ' , O pusArch 3 ( 1944) 1 -36; H elbig 4 I , 7 64 n o. b )

L ateran M useum , C astelgandolfo. H eight 10 c m .

R ome ;

1 065.

i nv . 3 79 a . M arble .

F rom D omitian 's V illa a t

T orso. A ndren, l oc.cit.; c )

H elbig 4 I , 7 64 n o.

1 065 ( 2).

M useo B arracco, R ome, M arble. H ead o nly.

H elbig 4 I I 6 33 n o. d )

1 872.

M useo C apitolino, R ome; A ntiquarium i nv. M arble.

1 5724.

H ead o nly. G .

P isani

S artorio a nd R .

C alza ,

L a V illa d i M assenzio s ulla V ia A ppia ; I i

P alazzo, l e o pere d 'arte ( 1976) 1 94 f ., n o. 3 7 p l. X XI. A thena: e )

H amburg, i nv.

1 961.288 s t.

1 68.

1 89

M arble.

H eight:

1 35 c m .

H ead a nd a rms m issing. L ate H adrianic. B .

a nd

K .

S chauenburg ,

K unst u nd G ewerbe ' , f ig. 1 -3 . f )

' Torso d er M yronischen A thena ,

A ntike P lastik X II ( 1973) 4 7-67 ,

L iebieghaus, F rankfurt/Main ; i nv.

1 09.

H amburg ,

p ls .

8 -14 .

M useum -P Ls .

M arble.

F ound i n 1 884 i n t he G arden o f L ucullus.

1 73 c m .

L ate A ugustan . i bid., f igs. 4 -10; 4 0. B oboli G ardens, F lorence; D 8 7. A ntique p ortion : i bid., f igs. h )

1 1-14.

P rado, M adrid; 8 2 -E .

i bid., f igs.

C oarse w hite m arble.

1 47 c m .

M arble.

1 49 c m .

1 5-18.

L ouvre, P aris; M A 2 208.

P entelic m arble.

1 46 c m . i bid., f igs .

1 9-22; 4 1.

M useo C ivico , R eggio C alabria ; i nv . 6 3936 .

y ellowish marble .

S urviving p ortion : 6 2 c m . i bid., f igs. 2 3-26. k )

P rivate c ollection , R ome.

i bid., p ls. 1 )

M arble.

D imensions n ot g iven.

1-14; f igs. 3 8-39; 4 2.

T oulouse M useum ; 3 0339.

C oarse m arble.

1 45 c m .

F rom C hiragan . i bid., f igs. 2 7-30. m )

A cropolis M useum , A thens; S tores i nv . 2 335.

C oarse m arble.

H ead o nly. n )

S taatl. S kulptursmlg., D resden ; n o. 4 8. H ead o nly.

i bid., f igs. 3 1-34.

1 90

M arble.

f ür

8 -10 ,

o )

V atican, S tores; R ome; n o. 5 9.

M arble.

H ead o nly. i bid., f igs. 3 5-37.

R eferences A l e t o A l o f rom

B .

a nd K .

S chauenburg ,

l oc .cit . ,

w here w ill b e f ound f ull b ibliography. E a nd q ) T ypes o f A ttic c opper c oinage ,

i ssued u nder H adrian a nd t he

A ntonines. M yronian f igures o f Marsyas a nd A thena a re d epicted ; t he c oins a re b elieved t o s how t he M yronian s tatue-group , a s d isplayed i n A thens . R . C arpenter,

' The Marsyas o f t he L ateran ', MAAR 1 8 ( 1941) 5 -18 ;

( supra n o. A l a ) 7 , f ig. 2 ( =p);

A ndren

7 , f ig. 2 ( =q).

O n t he g roup: T he Marsyas

s tatues were f ound without a ny t race o f a matching

A thena. S ee:

L ippold, H dA I II,

1 p .

1 39; R ichter, S G 2 09 f . ; R obertson , 3 41 f .,

w ith f urther r eferences i n n ote 17. C f .

a lso :

M yron ',

A 2

W .

D eonna ,

' Les

p rototypes

d u g roupe

R A X XIV ( 1926) 1 88 f f.; L IMC I I,

1p .

d 'Athena

e t

d e

M arsyas

p ar

1 015 n o. 6 23.

A thens, N ational M useum ( ?) T op p ortion o f ad ouble-sided r elief f rom A thens ; f ound s outh e ast o f t he H ouse o f A cademos . M arble.

D imensions -

F igures a pparently b ased o n M yronian t ypes. S ide a : A thena's h ead; l eft p rofile. S ide b :

M yronian t ype M arsyas,

w ith ,

a t t he r ight a nd l eaning o n a

t ree ,

O lympos. E nd 5 th c entury B .C. G .

D aux i n B CH 8 3 ( 1959) 5 81,

f igs .

1 5 a nd 1 6 ;

C . P icard ,

R A ( 1961) i ,

2 22 f f. A 3

B erlin ( Charlottenburg) F 2 418.

A ttic r ed-figure o inochoe.

A s tately A thena t hrows d own t he f lutes b efore a Myronian t ype M arsyas. E nd 5 th c entury B .C .

C VA f asc. 2 , p ls.

1 47.1 a nd 2 ; R obertson, 3 41 a nd f ig.

1 91

13 b .

A 4

' Private c ollection o f K ing C hristian o f D enmark ' E truscan m irror.

D amaged.

A thena s triking ( ?) a M yronian t ype M arsyas. 5 th c entury B .C.

( ?)

G erhard, E S I , P l. L XX . A S

B oston 0 0 .348 ;

A pulian b ell c rater .

B y t he P ainter o f B oston 0 0 .348 .

( fig. 3 ). A thena p lays t he f lutes w hile s itting n ear a t ree ; m irror h eld u p b y ay outh l eaning o n a s taff .

s he l ooks i nto a

T o t he r ight,

M arsyas

i n a M yronian a ttitude o f s urprise . A lso p resent: Z eus, a w hite-haired s ilenos, a B acchante ( ?). J ust b efore t he m iddle o f t he 4 th c entury B .C. R VAp I , 2 67 n o. A 6

1 .

L ocation E truscan m irror. A winged A thena s its a longside a s tylised t ree, o ne f oot u p o n a r ocky

s tep .

B efore h er

s tands

a p eaceable ,

b eardless

M arsyas

w ho

l eans o n a s taff . H e w ears t he n ebris a nd h olds t he f lutes a t h is s ide i n h is l eft h and . 4 th C entury B .C . G erhard ,

E S

I ,

p l .

( ?).

L XIX ;

c f .

S avignoni ,

' A the n a arali

e d A thena s enz 'ali ' ,

R ömMitt X II ( 1897) 3 07 f f. A 7

V olterra M useum . E truscan m irror . A f emale f igure i n f lowing r obes r aises a p air o f f lutes a bove h er h ead , a s i f t o s trike a M yronian t ype M arsyas, c loak.

w ho w ears a n ebris o r

B eneath t he g round-line , t wined s erpeents, a ppropriate i f t he f emale i s t aken a s A thena . 4 th - 3 rd c entury B .C. G erhard, E S I V ,

P l.

C CCXV ,

( ?).

1 .

S ee A 77, s cene a , f rom a C aeretan o inochoe, 3 40 - 3 00 B .C.

( Cyclic)

a nd A 79 ,

s cene

a ,

f rom

A lexandrian

r elief

k antharos,

3 rd

t o

2 nd

c entury B .C .

( Cyclic). A B

P alazzo B ianco ,

G enoa .

M arble r elief p anel f rom M olassana .

7 4 x 4 5 c m .

1 92

A thena s its o n a r ock b efore a t ree, which i ntertwines with t he a edicula s creening t he b ackground . S tanding p eaceably t o t he r ight,

ab eardless M arsyas h oldimg a f lute

i n e ach h and a nd c lad i n an ebris . 2 nd c entury B .C., o r l ater. G .E. R izzo, R ömMitt X XV ( 1910) 2 98 f f., p l. 8 ; C arettoni, 6 3, f ig. 2 . A 9

S mlg .

S tosch ,

B erlin ;

F 6 856 .

I ntaglio g em ,

s ardonyx .

1 . 25

x 1 .1. c m . A thena s tands, b eardless,

r ight h and t o h er mouth; t o t he r ight i s Marsyas,

b lowing t he u praised f lutes.

I n t he

b ackground,

a

c olumn . L ate H ellenistic. M üller-Wieseler, 1 13 2 39 c , p l. 2 2. A 10

N ational

Museum,

A thens;

n o .

1 27.

Marble r elief v ase .

D amaged. A thena,

t urning,

t hrows d own t he f lutes b efore a Myronian t ype

M arsyas. L ate H ellenistic. H . H eydemann , A Z ( 1873) 9 6; R ichter, S G 2 09, f ig. 5 86.

T he C ontest A ll

G ela

( V,

x li) .

A ttic

c alyx

c rater

f rom

V assallaggi .

K leophon P ainter. M arsyas s its o n a r ock a t t he l eft b lowing t he f lutes ; A pollo s its f acing h im , h is r ight a rm e xtended t owards M arsyas . B etween t hem , a t ree. 4 30 - 4 25 B .C . A RV' A l2

144, 2 0; F roning n o. 6 , p l.

1 0.1.

A thens, L eatham f ragment; A ttic.

K leophon P ainter.

H ead a nd s houlders o f A thena a t t he l eft ( with s uperscription : )l ooking t owards s itting white-haired Marsyas ( superscription : i n r ight p rofile .

) , w hose h ead o nly i s p reserved ,

v iewed

H e i s l ocated i n f ront o f a t ree .

c a. 4 30 - 4 25 B .C . J . B oardman , J HS 7 6 ( 1956) 1 8 f f., p l. A l3

1 .1; A RV' 144,

1 6; F roning n o.

L ouvre, P aris; A ttic b ell c rater G 5 16; P othos P ainter.

1 93

1 .

M arsyas s its i n t he c entre, h olding b ut n ot p laying t he f lutes, s tationed b eside a t ree ; T here a re t hree M uses ,

h e l ooks t owards A pollo

t o t he

r ight .

t wo t o t he l eft , o ne t o t he r ight .

E nd 5 th c entury B .C .

C VA L ouvre 5 , F roning n o . A l4

I II i e , p l . 4 .5 ( France 3 80) ;

C lairmont n o . 3 ; A RV 2 189 ,

2 0 ;

1 5.

E rbach ; A ttic b ell c rater. P ainter o f M unich 2 335. M arsyas p lays t he f lutes a s h e w alks t o t he r ight , t owards t he s eated A pollo ,

w ho h olds a l aurel s taff .

E rato s tands a t t he l eft ,

a nother

M use a t t he r ight . E nd 5 th c entury B .C . C lairmont n o. A l5

1 5 ; A RV 2 163, 4 2; F roning n o. 3 7.

A thens; f ragments f rom t he A gora , P . A ttic s tamnos.

1 052.

P othos P ainter.

M arsyas s its o n ar ock f acing r ight ; b efore h im s tands A pollo h olding al aurel s taff . T o t he r ight o f A pollo, E rato a nd t hen a nother M use ; t o t he l eft o f M arsyas, a t hird M use (9 . E nd 5 th c entury B .C . C lairmont n o . 6 ; 1 4. A l6

S chauenburg ( 1958) p l . 3 4 .

1 , 2 ; A RV 2 190 ,

3 2 ;

F roning n o .

L ondon ; A ttic b ell c rater 1 920, 6 -13,2. P othos P ainter . Marsyas s its f luting o n a r ock t o t he l eft o f ac entral t ree; h e f aces t o t he r ight . T o t he r ight o f t he t ree s tands A pollo h olding a l aurel s taff .

A t t he l eft , E rato ; a t t he r ight a s econd M use .

E nd 5 th c entury B .C . C lairmont n o. 5 ; A RV 2 190, 2 2; F roning n o. 1 3. S ee :

A ttic v olute c rater o f t he K admos P ainter ,

A 80 ;

e nd 5 th c entury B .C .

( Cyclic?). A l7

B ologna ; A ttic c alyx c rater 3 01.

K admos P ainter .

M arsyas s its o n a r ock f acing t o t he r ight a nd b lowing

t he

f lutes .

B efore h im s tands A pollo h olding a l aurel s taff a nd a l yre ;

t o t he

r ight o f A pollo i s H ermes .

A M use ( ?) w ith a t orch s tands t o t he

l eft o f M arsyas . E nd 5 th c entury B .C .

1 94

C VA ( 4) p l. 8 4.2; C lairmont n o. H earst C ollection .

1 0; A RV'

184, 5 ; F roning n o. 9 a nd p l. 8 .1.

A ttic b ell c rater .

K admos P ainter. M arsyas

s its o n a r ock f acing t o t he r ight a nd b lowing t he f lutes ;

b ehind h is k nees, A pollo ,

a c olumn s upporting a t ripod .

l eaning o n a l aurel s taff .

T o t he r ight s tands

A rtemis w ith a t orch s tands t o

t he l eft o f M arsyas . I nscription b eside t he f igures:

A rtemis -

\i 066 (Os)

A pollo ? \V0 5 ; M arsyas - A O \ ; t he n ames o f a ctors p laying t hese r oles i n d rama .

;

p robably

E nd 5 th c entury B .C. A RV' p l. A 19

185

1 3 ;

I .K .

R aubitschek ,

2 0; F roning n o.

T he H earst H illsborough V ases

L ondon ; A ttic c olumn c rater E 4 90. M arsyas s its o n a r ock , g round b ehind h im , A thena ,

( 1969) 7 1

f f"

1 0. S uessela P ainter.

f acing r ight a nd b lowing t he f lutes ;

a n o verturned p itcher .

o n t he

T o t he r ight o f M arsyas,

w ho p aces t owards h im w ith h er r ight a rm o utstretched ;

h ead, h owever , l aurel s taff .

h er

i s t urned t o A pollo, s tanding a t t he r ight with a A bove a nd t o t he l eft o f Marsyas s its a Muse who

h olds a t orch . B eginning o f 4 th c entury B .C . E phemera

( 1886)

p l.

a t

p .

3 ;

L enormant-De

c gramographiques ( 1844-61) I I p l . A 20

6 9 ;

A RV'

W itte,

1 345 ,

7 ;

E lite d e monuments

F roning n o .

1 8 .

F ormerly o n t he a rt-market i n P aris. P ainter o f M unich 2 335; A ttic c alyx c rater . M arsyas

s its

o n a r ock b lowing

t he

f lutes ;

h e

t o

t he

O n t he g round a t t he l eft,

a l yre ,

i ts s ide .

s tands A pollo w ith a l aurel s taff .

B efore M arsyas

a t t he r ight ,

f aces

r ight .

a p itcher l ying o n T he

p air a re f lanked b y B acchantes w ith t hyrsoi, t he o ne o n t he l eft s tanding , t he o ne o n t he r ight s eated . B eginning o f t he 4 th c entury B .C. C lairmont n o. 7 ; A RV' 165, 7 4; A 21

F roning n o.

B erkely, C alifornia, 8 .935.

1 6.

F aliscan c up.

I nterior t ondo. A pollo s its o n t he l eft

w ith h is l yre ,

f acing M arsyas a t t he r ight .

T he s atyr, twined i n a p anther-skin a nd w ith h is b row wreathed, s tands

a nd

g esticulates

a nimatedly

t o A pollo w ith a f lute h eld

e ach h and . B eginning o f t he 4 th c entury B .C. B eazley, E VP 1 07, p l. 2 5,

1 .3; C lairmont n o. 3 2; F roning n o. 4 0.

1 95

i n

S ee:

A 85;

p hlyax c rater :

t he c ontest i n d rama ;

2 nd q uarter o f t he 4 th

c entury B .C. A 22

B erlin , F 3 185.

L ucanian b ell c rater.

K reousa P ainter. Marsyas s its f luting o n a r ock a t t he l eft, f acing t o t he r ight; b ehind h is k nees, a t ree .

B efore h im A pollo s trides away t o t he

r ight, p laying t he l yre .

Av eiled f emale s its o n a s ella t o t he

r ight, f acing l eft a nd h olding a p air o f f lutes a n a lly o f M arsyas?

i n h er r ight h and -

c a. 3 70 B .C . E . G erhard , A ntike B ildwerke ( 1828) F roning n o. 1 9. A 23

L XXXVI ,

P l .

3 ; T rendall , L CS 9 4 n o . 4 93 ;

L ouvre, P aris; l ekanis ( lid) K 5 70; P aestan . M arsyas,

w earing a n ebris ,

f lutes .

s its o n a r ock a t t he l eft a nd b lows

B ehind h im i s a s mall

t emple ,

c ontinuous c ircular f rieze-field . A pollo ,

p laying

t he

l yre a nd ,

l ike

t he

m arking a d ivision i n t his

T o t he r ight o f Marsyas s its M arsyas,

f acing

r ight .

T o

t he

r ight, t hree s eated M uses, i ncluding , a t t he e xtreme r ight, E rato . T hat a ll t he p articipants s it p robably r esults f rom t he c ompressed p ictorial f ield. 2 nd - 3 rd q uarter o f t he 4 th c entury B .C. A . 11

T rendall,

P aestan P ottery ( 1936)

16 ,

f ig .

2 3 a nd p l .

1.3 ;

F roning n o .

2 0. A 24

N ational

M useum ,

A thens ;

n os .

2 15-217 .

T hree

M arble

r elief

s labs

( h . 9 6 c m .) . F rom t he d ouble t emple a t M antinea ( Pausanias V III 9 , 1 ), where t hey a re b elieved t o h ave f ormed t he f acing t o a b ase s upporting s tatues o f A pollo , H ence: a )

L eto a nd A rtemis b y P raxiteles .

f rom t he a telier o f P raxiteles.

A pollo s its o n a r ock a t t he l eft, d ressed i n f lowing r obes . f aces

t owards

c ithara . f luting

t he

r ight

a nd

I n t he c entre o f M arsyas,

f rontally ,

s tands

s upports

t he p anel , a S cythian

o n h is

l eft

s eparating t he g od e xecutioner .

w ith t he f laying k nife i n h is r ight h and .

H e

k nee a g reat H e

f rom i s

t he

p osed

I n a d ynamic

c ontrast t o t he s tately A pollo , M arsyas, t hough p resented f rontally , t akes a s tride t o t he r ight a nd p ivots h is h ead a nd t orso a l ittle t o t he

b )

l eft .

T hree s tanding M uses,

i ncluding a t t he r ight ,

c ithara i n h er r ight h and .

T he p ose o f

E rato ,

w ho h olds u p a

t he middle Muse i s a n

i nteresting m irror-reversal o f t hat o f t he c entral S cythian i n a . c )

T hree f urther M uses: a t t he l eft, s tands E uterpe , r egarding p ensively t he f lutes which s he h olds b efore h er;

i n t he c entre,

a s econd

s tanding Muse; a t t he r ight, t he t hird Muse i s s eated o n a r ock , t urned i n t hree q uarter v iew t o t he r ight;

1 96

s he p lays a l ute .

I t i s n ot k nown w hether a f ourth p anel e xisted,

d epicting t he t hree

r emaining M uses; n otably a bsent a re t he t wo d ramatic M uses . b e t hat o nly t hree p anels w ere r equired , s tatues d isplayed .

I t m ay

c orresponding t o t he t hree

A n e ffective c ompositional a rrangement ( with o r

w ithout t he i nterpolation o f a f ourth p anel) w ould b alance t he s eated A pollo o f ao n t he l eft, a gainst t he s eated M use o f co n t he r ight . 3 rd q uarter o f t he 4 th c entury B .C. G .E . R izzo ,

P rassitele ( 1932) p ls .

1 80 f f . ;

P icard ,

I V 3 61;

1 , 2 38 ; R ichter, S G 2 65, f igs. 6 79-81; R obertson , 3 95, p l. A 25

M us. N az. V illa G iulia, R ome.

s een i n r ight p rofile .

H dA I II

F aliscan s tamnos 6 153.

A pollo s its a t t he l eft o n a r ock , i s

L ippold , 1 28 a -c.

T o

s upporting t he l yre i n h is l ap ; h e

t he

r ight

s tands

a f rontal

M arsyas,

h olding o ut a f lute i n e ither h and . L ater 4 th c entury B .C . C lairmont n o. 3 3, p l. 6 ; F roning n o. 4 4. A 26

M us. N az. V illa G iulia, R ome.

F aliscan s tamnos 6 154.

A r eplica o f A 25. C lairmont n o. A 27

3 4; F roning n o. 4 5.

B iblioth& lue N ationale, P aris.

C ampanian o inochoe.

A b eardless M arsyas, h is h ead g arlanded , l eft f oot r aised o n a r ock .

s tands a t t he l eft w ith h is

S hown i n r ight p rofile ,

h e h olds o ut

b efore h im a f lute i n e ach h and . A pollo s tands f acing h im a t t he r ight, h is r ight h and, which h olds t he p lectron e xtended t owards M arsyas .

T he l yre h angs b y h is s ide , h eld i n h is l eft h and .

L ater 4 th c entury B .C. A .H .P .

D e

R idder,

C atalogue d es v ases p eintes d e l a B ibliot Hque N ationale

( 1901) 5 93 n o. 9 94, f ig.

A 28

1 40; J .D . B eazley, J HS 6 3 ( 1943) 9 5 n o.

M us. N az. V illa G iulia, R ome.

F aliscan c alyx c rater 6 473.

A pollo s its o n ar ock h olding a l aurel s taff . r ight

s its

M arsyas ,

v iewed

1 8.

i n r ight

p rofile ,

B elow a nd t o t he b ut

t urning

b ack h is

h ead t o l ook a t A pollo ; a pparently h e h as n o f lutes . O ther f igures a re: a Muse with a l yre ( Apollo 's), a winged f igure with a f lute ( Marsyas 's?) ,

a s eated s atyr ,

a B acchante .

L ater 4 th c entury B .C . C lairmont n o. 2 9, p l. 5 ; F roning n o. 4 7. A 29

M us. N az. V illa G iulia, R ome; P raenestine c ista 1 3135. H . 3 3 c m .

1 97

( fig .

1 5)

A t en-figure f rieze c omposition . f ield,

W hen u nwound f rom t he c ylindrical

i t b ecomes c lear t hat t he c entral a xis o f

t he c omposition i s

o ccupied b y a t ree f lanked b y M arsyas a nd A pollo .

A s econd t ree a nd

a r ock a ppear a t t he e xtreme r ight, a nd a t t he l eft a nd r ight , t wo c haracters s it o n r ocks . H owever , t wo f urther f igures s it o n c hairs o r t hrones, t wo s acred s ashes h ang i n t he b ackground , a nd t wo f ullh eight c olumns a lso a ppear . T aken o verall , t hese f actors s uggest a s anctuary s etting , o r p erhaps a s acred g rove . T he f igures t o t he l eft o f c entre f ace t owards t he r ight, t heir a ttention o n t he c entral p air o f c ontestants ; t hose o n t he r ight f ace t owards t he l eft .

R eading f rom t he l eft ,

t hose p resent a re :

i )

am ajestic b earded f igure s itting o n a r ock, s urely Z eus.

i i)

a Muse ( ?) s tanding w ith h er l eft l eg c rossed b efore t he r ight, s upporting h er r ight e lbow o n a s hort c olumn ;

i ii)

a b eardless, s tanding male, r esting o n a s taff - p erhaps O lympos;

i v) v )

am ajestic e nthroned f emale, v eiled, p erhaps C ybele; t o t he l eft o f t he c entral t ree , M arsyas, s triding t owards t he r ight , b ut w ith h is u pper b ody t urned t o t he f ore a nd h ead t wisted f urther t o t he l eft ; h e w ears t he n ebris a nd b lows t he f lutes ;

v i)

t o

t he

r ight

o f

t he

t ree,

A pollo

e nthroned,

s upporting a c ithara o n h is s eat b eside h im ;

f acing

h e i s n ude ,

l eft

a nd

a part f rom

t he r obe d raping h is l ap ; v ii)

A rtemis w ith b ow a nd s pear ;

v iii)

a majestic v eiled f emale ,

s itting o n a r ock ,

a nd h olding a r ounded

o bject ( pomegranate - H era?) i n h er l eft h and ; i x)

aM use ( ?), s tanding;

x )

ab eardless m ale l eaning o n a l ow r ock - p erhaps H ermes. A fter 3 30 B .C.

C .Q . G iglioli,

L 'arte e trusca ( 1935) 2 93,

f ig .

1 ; H elbig4 I II 8 15-17 n o .

2 946.

T he C ontest: M arsyas D efeated A 30

B oston, A ttic v ase-painting f ragments 2 8.108. T he M odica P ainter. S mall p ortions o f t he f ollowing f igures a re p reserved:

i )

a b eardless y outh,

s eated w ith h ead t urned t o t he l eft,

O lympos;

1 98

p erhaps

i i)

a s eated ,

d isconsolate M arsyas,

f acing l eft w ith b oth f lutes h eld i n

t he r ight h and r esting o n h is k nee ; i ii)

a s tanding A pollo C itharoedus, w inged N ike ;

a pproached f rom t he r ight b y a s mall

i v)

as tanding M use ( ?) w ith a t orch ;

v )

a t l east o ne f urther f emale f igure. L ast q uarter o f t he 5 th c entury B .C.

C lairmont n o. A 31

1 7, p ls. 2 a nd 3 ; A RV'

P rivate c ollection ;

1 340,

2 ; F roning n o. 2 2.

S outh I talian o inochoe.

R elated t o t he S chwerin G roup? M arsyas

s its

d isconsolately o n a r ock a t

l ean t he f lutes. r esting

H is

t he

r ight,

a gainst

r ight h and s upports h is h ead,

o n h is d rawn u p k nee .

B ehind t he r ock ,

l eft, a nd walking t owards Marsyas a s h e p lays,

t he

a t ree .

w hich e lbow T o t he

i s A pollo w ith a

c ithara. E nd 5 th t o e arly 4 th c entury B .C. S chauenburg ( 1972) 3 17-322, p l. A 32

M etropolitan 1 2.235.4.

M useum ,

1 33.1.

N ew Y ork .

L ucanian s kyphos

f ragments

P alermo P ainter.

O ne f ragment g ives a Muse ( ?) a nd A rtemis i n c onversation with M arsyas,

w ho s tands w ith h is l eft e lbow r esting o n a s tele i nscribed I n h is

l eft h and h e h olds

a b road-bladed

f laying

k nife ( machaira) . O n t he s econd f ragment, a n e nthroned Z eus, a s mall w inged E ros b earing a w reath ,

a nd t he h and o f a t hird f igure .

E nd 5 th c entury B .C. T rendall, L CS 5 3 n o. 2 73, p l. 2 3.1; F roning n o. 3 8, p l. A 33

L eningrad; M arsyas

1 2,

1 -2.

f ragment f rom a n A ttic b ell c rater.

s its

i n l eft

p rofile ,

h is

r ight

h and

t o h is

h ead .

s tands b efore h im h olding h is l yre a nd a l aurel s taff ; r ight

e lbow o n a s hort c olumn ,

s hared w ith a B acchante .

b earing a g arland f lies t owards A pollo . o ther

f igures .

A 34

1 9;

S chauenburg ( 1958) p l. 3 6,

F errara; A ttic c alyc c rater T 8 73.

1 99

A n E ros

T here a re t races o f t wo

B eginning o f t he 4 th c entury B .C. C lairmont n o.

A pollo

h e r ests h is

1 ; F roning n o. 3 3.

M arsyas

s its

l ow d own ,

b ody

i n l eft p rofile ,

l ook o ver h is s houlder t o t he r ight. r ight

h and .

r ight,

U p

a bove ,

a s mall

h ead t urned r ound t o

H e h olds t he f lutes i n h is

N ike

f lying

t owards A pollo

who s its h olding a c ithara a nd a l aurel s taff.

a t

t he

H ermes

a ppears t o t he r ight . A thena s tands j ust t o t he r ight o f M arsyas, while t o t he l eft s its a y outh w ith a s taff - O lympos? T wo B acchantes a nd a nother f igure a re a lso p resent . B eginning o f t he 4 th c entury B .C . A RV 2 1 420, 2 ; F roning n o. 3 4, p l. A 35

B erlin ;

1.1.

f ragmentary A ttic c alyx c rater F 2 638.

A n u nusual c omposition ,

d iverging c onsiderably i n s ome r espects f rom

t he b ody o f M arsyas w orks w ithin w hich i t i s i ncluded . M arsyas s tands t o t he r ight o f a s tele w ith h is r ight a rm r aised t owards t he s eated A pollo , T o t he r ight o f A pollo, H ermes .

w ith w hom h e a ppears t o b e r emonstrating . f loating a bove a t hree-stepped b ema,

H e a nd A pollo a re f lanked b y ,

u p a bove ,

a nd , d own b elow , b y t wo M uses e ach w ith a l yre . a t

i s

t wo w inged E rotes A t hird M use s its

t he l eft .

B eginning o f t he 4 th c entury B .C. H . M etzger , L es r epresentations d ans l a c gramique a ttique d u I Ve s iècle ( 1951) p l . A 36

2 2 ,

2 ;

C lairmont n o .

1 8 ;

F roning n o .

3 9 .

N ational M useum , A thens; A ttic b ell c rater 1 442. S emele P ainter. Marsyas,

s een i n r ight p rofile, s its b efore a t ree a nd b lows t he

f lutes ; b eside h im , a n o verturned p itcher . A thena , s et h igher , s its f acing M arsyas a t t he r ight, h er r ight h and e xtended t owards h im ; f lying h igh b etween t hem ,

a s mall N ike w ith a g arland ,

m aking

A pollo a t t he e xtreme r ight, w ho s tands w ith a l aurel s taff .

f or

A t t he

e xtreme l eft s tands a M use w ith a t orch . B eginning o f t he 4 th c entury B .C. M etzger ( supra n o . A 35) p l . n o. A 37

2 2 ,

3 ;

C lairmont

n o .

1 3 ;

A RV 2 1 343 ,

2 ;

F roning

1 7. B oston ; 6 1.112.

A pulian b ell c rater f ragment.

A dolphseck P ainter. A s tanding A pollo C itharoedus,

a pproached f rom t he r ight b y a s mall

w inged N ike ( ?) b earing a g arland . o f a s eated Z eus .

T o t he l eft,

t he a rm a nd s ceptre

M arsyas - m issing .

B eginning o f t he 4 th c entury B .C. C lairmont

n o .

2 3;

A .D .

P lain S tyle ( 1961) 2 0 n o . A 38

T rendall, 3 ;

A pulian R ed-figured V ase P ainters o f t he

F roning n o .

B onn , c ollection o f E . L anglotz.

2 00

2 3 . E arly A pulian f ragment.

M arsyas s its f acing l eft, h and . A pollo

t he f lutes h eld b y h is k nee i n h is

r ight

A bove, t he r emains o f a s eated, r obed f igure, p erhaps t he C itharoedus .

B eginning o f t he 4 th c entury B .C . S chauenburg ( 1958) p l. 3 6, 3 ; F roning n o. 3 2. A 39

B erlin ; A ttic b ell c rater F 2 642. M arsyas, v iewed i n r ight p rofile , s tands a t t he l eft , t he f lutes h eld i n h is l eft h and, which h e e xtends b efore h im .

T o h is r ight, a

B acchante

s its

s tands,

l eaning

o ver

h olding h is l aurel s taff. w inged E ros . t hyrsos

t owards A pollo

w ho

A bove a nd t o t he r ight

o n a r ock ,

o f A pollo,

a

A t t he r ight s tands a Muse h olding a l yre a nd a

( ?) .

E arly 4 th c entury B .C .(?) A Z ( 1855) p l . 8 4 ; A . F urtwängler , B eschreibung d er V asensammlung , B erlin ( 1885) n o. 2 642. A 40

L ocation . O nce C alifornia M arket c rater ; l ate A mykos P ainter .

4 278 .

L ucanian b ell

B earded a nd w ith h is h ead w reathed w ith i vy , M arsyas s its o n a r ock f acing t owards t he l eft .

H e h olds a f lute i n e ither h and ,

f lute h eld o ut b efore h im,

t he r ight

t he l eft a t h is s ide;

h e s eems t o b e

a rguing w ith t he y oung male w ho s tands a t t he l eft ,

h olding a s pear

a nd w earing o nly a c loak .

T o t he r ight

h olds u p a s pray o f f oliage .

s tands a f emale f igure w ho

T he s atyr c losely r esembles

t he

s olitary M arsyas o f A 81 . E arly 4 th c entury B .C. T rendall, L CS S upplement 3 , A 41

( ?)

1 9 n o. 2 65 a , p l. I II 1 -2.

S arajewo; A ttic c alyx c rater f ragment n o. 3 9. ( fig. 2 3). S itting o n a r ock d raped w ith a n a nimal s kin , ad espondent b eardless M arsyas,

f acing t o t he r ight .

H e r ests h is h ead i n h is

a nd h olds t he f lutes a t k nee-level i n h is r ight. t ree .

A bove h im ,

t he l egs o f a s mall ,

l eft h and

A t h is b ack, a

a irborne N ike a pproaching a

s tanding A pollo C itharoedus ( legs o nly ) t o t he l eft o f M arsyas . E arly 4 th c entury B .C.

( ?).

S chauerburg ( 1958) p l. 3 6.2; F roning n o. 2 4. A 42

T arento; L ucanian/Apulian o inochoe 2 0305. C onnected w ith t he S chwerin G roup. M arsyas i s s een i n r ight p rofile , h is l eft f oot s et u pon a l ow r ock . I n h is r ight h and h e s upports t he f laying k nife , r esting i t o n h is s houlder .

H is

l eft h and

i s

e xtended

t owards

w ith w hom h e a ppears t o b e i n d iscussion .

2 01

A pollo a t

t he

r ight,

T he g od , h olding t he l yre

i n h is l eft h and ,

r eaches o ut h is r ight h and w ith t he p lectron i n i t

i n t he d irection o f M arsyas . f lute-case .

O n t he g round b etween t he t wo ,

a

B ehind M arsyas s tands a M use ( ?) .

3 80 - 3 70 B .C . S chauenburg

( 1958) p l .

3 4 .4 ;

T rendall ,

L CS 6 9 n o .

3 51,

p l . 3 2 .9 ;

F roning n o .

4 1. A 43

L ouvre, P aris;

L ucanian v olute c rater K 5 19.

T he B rooklyn-Budapest M aster. A pollo s its p laying t he c ithara , f acing a l ittle t o t he r ight ;

b ehind

h im , a t ree . A t t he r ight i s M arsyas ; h e s tands f acing A pollo , h is r ight f oot s et u p o n ar ock , w ith t he f laying k nife i n h is r ight h and r esting o n t he r aised k nee . H eld b ehind h is b ack i n h is l eft h and , a f lute-case m ade f rom a n a nimal s kin . B elow A pollo s its a s econd s atyr , p erhaps a f ollower o f M arsyas , i n t he d espondent p ose c ommonly a dopted b y M arsyas w hen d efeated - a nd s o u nderscoring t hat t his i s a p ost-contest e pisode .

A lso p resent a re t wo B acchantes a nd a d eer .

3 80 - 3 60 B .C . S chauenburg ( 1958) p l. 3 2; T rendall, L CS 14 n o. 5 94; F roning n o. 4 2. A 44

N ational G allery o f V ictoria, M elbourne ; n o . 9 0/5. A pulian o inochoe o f t he F elton P ainter . M arsyas s tands a t t he l eft , h is l eft e lbow r esting o n a s tele t opped w ith a d raped r obe ; i n h is d angling l eft h and , a f lute . W ith h is r ight h and h e h olds a s econd f lute t o h is l ips . M eanwhile A pollo w alks a way f rom h im t owards t he r ight, a pparently s till p laying h is c ithara .

A d isconsolate-looking y outh s its o n a r ock a t t he r ight ,

p erhaps O lympos . T he m ain t hree-figure g roup i s f lanked o n e ither s ide b y ac omic d warf . 3 70 - 3 50 B .C . S chauenburg ( 1972) p l . 1 30, ( 1967) n o . A 45

1 .2 a nd 1 31,

1 ; A .D . T rendall, P hlyax V ases

2

1 95, p l. 1 3 a ; R VAp I 1 72 n o. 4 9.

M us. N az. N aples; H 3 231. N ear t he A riadne P ainter.

I talian p elike.

A n e xtensive m ulti-figure c omposition . M arsyas s its o n a r ock i n t he m iddle f oreground i n l eft p rofile ; h is h ead r ests o n h is r ight h and a nd t he f lutes a re h eld i n h is l eft h and . A bove h im s its A pollo , p laying t he l yre a nd a pproached b y a s mall N ike b ringing h im a g arland . A bove A pollo , Z eus . f our M uses , o ne b eing E rato .

O ther f igures i nclude A rtemis a nd

A fter 3 70 B .C . A Z ( 1869) p l .

1 7 ;

J dI X XXII ( 1917) 5 4 f ig . 2 7 ;

3 1; R VAp I 4 01 n o . 2 9. A 46

L eningrad 9 98 ; C ampanian v olute c rater .

2 02

C lairmont n o .

2 1;

F roning n o .

P ainter o f L eningrad 9 98. I n t he c entre, a t riumphant A pollo C itharoedus, a pproached b y a f lying N ike . B y a t ree a t t he l eft t here s tands a b earded f igure l eaning o n a s taff . A t t he r ight i s a s eated d espondent M arsyas , h ead s upported i n h is r ight h and . A bove M arsyas s its a v eiled a nd c rowned f emale , h olding a b asket ; p ossibly C ybele . 2 nd q uarter o f t he 4 th c entury B .C . T rendall, L CS 3 86 n o. 1 84, p l. 1 49, 4 ; F roning n o. 2 5. A 47

R uvo , J atta 1 364 . A pulian s itula . S ichtermann r elated b y T rendall t o t he L ycurgus P ainter . A pollo s its c entrally w ith h is i nstrument ,

( below ) :

w reathed b y a w inged N ike

w ho s tands t o h is l eft . M arsyas s its f acing h im o n t he r ight , r ight h and t o h ead i n a n a ttitude o f d espondency ; l ying o n t he g round b eneath h im , a n a nimal s kin f lute-case . A bove M arsyas s its A rtemis w ith a d eer . T o t he e xtreme l eft i s O lympos l eaning o n a s taff ( an a ttitude o f g rief a ccording t o S ichtermann ) .

A bove t he f igures ,

t o

t he r ight o f c entre , aw indow . c a . m id 4 th c entury B .C . S ichtermann , G rV n o. 7 6, p l. 1 34; F roning n o. 3 5; R VAp I 1 71 n o. 4 1. A 48

C openhagen ; C ampanian b ell c rater 3 757. P ainter o f C openhagen 3 757. A pollo s trides t o t he r ight , a way f rom a t hree-stepped b ema , s till p laying h is c ithara . M arsyas s its b efore h im ; h is l eft h and , w hich s upports h is h ead, a lso h olds t he f lutes . I n h is r ight h and, r esting b y h is s ide, h e h olds t he f laying k nife . A w inged N ike s tands t o t he r ight o f M arsyas, e xtending t he wreath h eld i n h er r ight h and o ver h is h ead t owards A pollo . A t t he l eft s its A rtemis w ith a d eer ; n earby , aw indow . 2 nd t o 3 rd q uarter o f t he 4 th c entury B .C .

C VA C openhague 6 I V E p l . p l. A 49

2 45 a ( Danemark 2 48) ;

T rendall ,

L CS 3 86 n o .

1 84 ,

1 49, 4 ; F roning n o . 2 6. M useo B arracco, R ome.

A pulian v olute c rater.

P ietrangeli G uida n o . 2 33. A pollo s its w ith h is l yre t o t he r ight o f a t all c olumn o n w hich i s s et a t ripod ; s tanding t o t he r ight i s a w inged N ike who h olds a w reath o ver h is h ead w ith h er r ight h and ; h er l eft h olds a p alm . T o t he r ight i s ab eardless M arsyas s itting o n a r ock . H e w ears a h ead-dress w ith t wo f eathers l ike t hat s ometimes w orn b y t he M uses, a nd h olds u p as yrinx i n h is r ight h and . T o t he l eft o f A pollo s tands a M use ( ? ) . 3 60 - 3 40 B .C . S chauenburg ( 1958) p l. 3 3, 2 ; F roning n o. 4 6; R VAp I I 4 08 n o. 6 3.

2 03

A 50

M us. N az. N aples; A pulian o inochoe S A 5 74. M arsyas

s its

o n a p elt-draped

r ock a t

t he

l eft,

f lutes a re h eld a t k nee l evel i n h is l eft h and ;

f acing

r ight ;

t he

a bove h im h angs a n

a nimal s kin f lute-case . A pollo w ith t he c ithara s tands b efore h im , p rogressing t o t he r ight , w hence a pproaches a w inged N ike b earing a w reath. c a. m id 4 th c entury B .C . J dI X XVII ( 1912) 2 83 , n o. A 51

f ig .

1 0 ;

C lairmont n o .

2 8 ;

F roning n o .

2 7 ;

R VAp I 3 98

1 8. R uvo ; A pulian p elike J atta 1 500. A c entral A pollo s trides t o t he r ight, p laying t he c ithara ; a w inged N ike h olding a w reath s its a bove h im o n a r ock .

T o t he r ight,

f acing A pollo , s its a M use ( ?) b ehind w hom s tands M arsyas . h is r ight h and o n t he s houlder o f t he M use ,

H e r ests

w ith t he f lutes h eld i n

h is l eft h and , w hich i s p laced n ear h is h ip . A rtemis w ith a d og i s a t t he r ight . T o t he l eft o f A pollo a re a M use ( ?) s itting o n a r ock a nd a g irl b earing a p alm ; a t t he e xtreme l eft s its a y outh , w earing ah ead-band w ith t wo f eathers ( ?) - c f . A 49 . c a. m id 4 th c entury B .C. C lairmont n o . 2 6;

S ichtermann , G rV n o . 7 4, p ls . 1 28-133; F roning n o . 2 8 ;

R VAp I 4 03 n o. 4 3. A 52

H ermitage , L eningrad ; A ttic p elike f rom K erch n o . 1 795 .

T he

M arsyas P ainter. A t riumphant A pollo C itharoedus s tands o n a p latform i n t he m iddle ; a bove h im , as mall w inged N ike w ith a g arland . M arsyas s its a t t he r ight h is h ead r esting o n h is l eft h and ; t he f lutes r est a gainst h is r ock s eat .

A bove h im s its a M use ( ?) h olding t wo b urning t orches .

T o

o f A pollo i s a s emi-reclining y outh i n a P hrygian c ap ,

t he

l eft

s urely O lympos. s ceptre ,

A bove h im s its a c rowned f emale f igure w ith a

p erhaps H era .

c a . 3 35 B .C . A RV 2 1 475, 3 ; F roning n o. 2 9 ; A 53

S mall, f ig.

1 6.

S an S imeon ; A ttic b ell c rater b y t he P ainter o f A thens 1 472 . A c losely r elated v ariant

o f A 52 :

A pollo/Nike a re s hown s imilarly ;

M arsyas a nd t he M use h olding t he t orches a re t ranslated t o t he l eft i n a d irect

m irror r eversal o f t heir p oses;

O lympos, wearing a

P hrygian c ap , a ppears t o t he r ight o f A pollo , h is p ose v aried .

T wo

f urther f igures a re s hown a t t he r ight , n ot e ncountered i n t he f ormer p iece :

a s eated A thena a nd a s tanding w arrior .

c a. 3 35 B .C .

2 04

A RV'

1 477, 5 ; T illyard, H ope V ases ( 1923) n o.

1 69, p l. 2 7; F roning n o. 3 0.

S ee: A 77, C aeretan o inochoe, s cene b ; 3 40 - 3 00 B .C. A 54

A dolphseck, S chloss F asanerie 1 65.

( Cyclic).

C ampanian o inochoe.

A pollo s tands a t t he l eft, t he l yre ( ?) h anging b y h is s ide f rom h is r ight h and .

A g rotesquely l arge Marsyas s its o n a r ock a t t he

r ight, h is c hin r esting o n h is r ight h and; t he f lutes a re h eld a t k nee l evel i n h is l eft h and . c a. 3 25 B .C . C VA S chloss F asanerie ( 2) p l .

7 4 ,

1 ; T rendall ,

L CS 2 88 n o .

4 53 ;

F roning n o .

3 6. A 55

C astello P arco ,

N ocera

I nferiore ,

C ampania ;

( Coll .

F ienga) .

F aliscan c alyx c rater. M arsyas s its f luting o n ar ock a t t he l eft ; h e i s w ell d rawn , b ut t he o ther f igures a ppear l umpen a nd c lumsy .

T o t he r ight, a n ude f emale ,

m oving t owards A pollo w ho s tands h olding a l aurel s taff . r ight, a w inged N ike,

F urther

l eft e lbow r esting o n a s hort c olumn, a nd

s upporting w ith h er r ight h and t he c ithara o n t he g round b efore h er . T owards t he e nd o f t he 4 th c entury B .C . S tudi E truschi X III ( 1939) 4 40 f ., p l. 3 4 ba nd 3 5; F roning n o. 2 1. A 56

Mus. N az . T arquinea; i n

R C 2 263; E truscan s tamnos .

T he

T arquinea M arsyas P ainter ( 'an u ntalented v ase-painter'). A pollo s its a t t he l eft, I n h is

M arsyas a t t he r ight ;

t hey f ace e ach o ther .

l eft h and M arsyas c arries t he f laying k nife,

i n h is r ight,

a

w reath. N ot l ater t han t he 2 nd d ecade o f t he 3 rd c entury B .C. D el

C hiaro ,

p l .

1 27 .2 .

S ee:

' Etruscan R ed-figure 's

d ying

G asp ' ,

R ömMitt

8 4

( 1977)

2 61-266 ,

A 78, H ellenistic r elief s itula, s cenes a a nd d ; 3 rd c entury B .C.

M arsyas B ound: i . A ppealing f or M ercy A 57

M uzeum N arodowe, W arsaw ; n o. M arsyas s its o n a r ock ,

1 42259; C ampanian f lask.

h is l egs d irected t o t he l eft ;

h is h ead a nd

u pper b ody a re t urned r ound t owards A pollo a t t he r ight ;

h is w rists

a re b ound t ogether b efore h im . B ehind t he r ock i s a t ree . T o t he l eft o f M arsyas s tands a S cythian , w ho h olds o ut a k nife a bove t he s atyr 's h ead . A pollo s tands a t t he r ight, h is c ithara s et o n a t able . A lso p resent, t hree s atyrs . c a. m id 4 th c entury B .C.

2 05

C VA P ologne 1 , G oluchow , p l. 4 9.4 ( Pologne 4 9); F roning n o. 5 0. A 58

M us. N az. V illa G iulia, R ome; n o.

1 2983.

P raenestine m irror .

A s mall M arsyas s its a t t he c entre o n a r ock , a gainst w hich l eans a f lute ;

h e

r aises

h is

t owering o ver h im

b ound

a t

t he

k nife o n h is own h and . c ithara ,

w rists

l eft,

i mploringly

w ho t ests

t o

t he g reat

A pollo

t he b lade o f t he f laying

T o t he r ight, a Muse s upports t he g od 's

w hile a m iniscule y oung s atyr c owers a t A pollo 's f eet .

L ate 4 th t o e arly 3 rd c entury B .C. G erhard, E S I V , p l. C CXCVI; H elbig 4 I II 8 31 n o. 2 962.

M arsyas B ound i i A 59

M us. N az. N aples; H 2 991.

A ttic p olychrome r elief l ekythos.

T he f igures, r anged i n two r egisters, c reate a f ormal a nd wellb alanced c omposition ;

f ine w ork .

I n t he c entre i s a t all p alm t ree ,

b efore w hich M arsyas k neels,

a rms s ecured b ehind i ts t runk . g raceful,

T o t he r ight o f

h is

t he t ree i s a

s tanding A pollo, h is h ead t urned t owards Marsyas; h is

c ithara i s h eld b y t he M use w ho s its

t o t he r ight .

A bove A pollo ,

a nd o verlapping t he t ree-trunk , i s a s mall w inged N ike , e xtending o ne h and o ne

t o

t he g od 's

h ead .

T hree

s eated a nd t wo s tanding .

f urther M uses

a ppear a t

A t t he e xtreme r ight

t he

r ight,

i s a b eardless

s atyr , h elf-leaning a gainst a s tele d raped w ith a n a nimal s kin ; h e i s s hown i n ap osture r elated t o t hat o f t he M yronian M arsyas . I mmediately t o t he l eft o f t he b ound M arsyas

s tands a S cythian

e xecutioner , h is h ands t ogether b efore h is b ody , p erhaps u nsheathing a k nife . N ext a re f our M uses, t wo s eated a nd t wo s tanding , a nd a s tanding

b eardless

male

f igure,

c onversation w ith a f ifth M use ; l eft ,

r ight

t his

l ast ,

h and

h ead,

i n

t he f inal f igure a t

t he

r ests h er r ight e lbow o n a s hort c olumn ,

t he s atyr a t t he e xtreme r ight . c itharist

M use

h is

b alancing p erfectly

S he i s t he o nly M use ,

( presumably E rato) ,

s eems t o h e t he f lutes,

t o

t o

b esides

c arry a n a ttribute ,

a nd

t he t his

i n w hich c ase s he i s i dentifiable a s E uterpe .

i st q uarter o f t he 4 th c entury B .C. Z ervoudaki ,

' A ttische

p ls. 1 2 .1,

p olychrome

R eliefkeramik '

n o . 4 ,

f ig . 2 ,

A 60

B russels ; A pulian c alyx c rater R 2 27 . t he D arius P ainter.

A thMitt

8 3

( 1968)

1 8

1 3 .1-2 . R elated i n s tyle t o

M arsyas, h ead g arlanded , s tands b ound t o a t ree ; h e i s s een i n t hree q uarter v iew f acing l eft ; f rom a b ranch t o t he r ight h angs h is a nimal s kin f lute-case . H e b ears h is w eight o n h is r ight l eg , w ith h is l eft d rawn b ack a l ittle .

T o t he l eft s tands A pollo , h is l eft h and

e xtended t owards M arsyas, r ight h and h olding t he f laying k nife . T he c ithara r ests o n t he g round b etween t hem . T o t he l eft s its a b earded m ale w ith a s taff,

p erhaps

2 06

Z eus ;

a bove h im ,

a s mall w inged

N ike a nd a M use ( ?) .

T o t he r ight o f M arsyas i s aM use ( ?) s tanding

w ith h er l eft e lbow r esting o n a t all r ock ;

a bove h er,

a s eated

f igure w ith a t orch ( ?) . 3 rd q uarter o f t he 4 th c entury B .C. C VA B russels

2 D 6 ,

R VAp I I 5 06 n o. A 61

p l .

7 ,

7 ( Belgique 8 8) ;

C lairmont n o . 3 6 ;

F roning n o . 4 9 ;

1 08.

O xford ; f ragmentary A ttic c alyx c rater f rom A l W hite a nd g ilded d etails . F igures a ll c a .

2 2 c m .

M ina ; n o . 1 939 .

5 99 .

t all .

L ow d own n ear t he c entre c rouches M arsyas, h is h ands b ound b ehind h is b ack ; h e l ooks t o t he r ight o ver h is s houlder t owards t he A pollo ( legs o nly) w ho s tands o n ap latform b ehind h im. i nclude :

a y outh s upporting h imself

A rtemis w ith a t orch , Z eus .

o n

a s taff,

O ther f igures p robably

l eaning o ne e lbow o n a c olumn ;

A thena ;

H era ;

I n a ll ,

f ive t ripods a re d epicted ,

O lympos ;

N ike ;

H ermes ;

M arsyas i s w reathed w ith i vy . s uggesting a s anctuary s etting .

c a . 3 30 B .C. J .D .

B eazley ,

5 2, p l. 9 . A 62

L ost,

J HS

5 9 ( 1939) 3 5 f f"

p ls .

2 -6 ;

C lairmont n o .

3 5 ;

F roning n o .

--f ormerly t he H amilton C ollection ;

C ampanian v essel o f

t he C aivano P ainter. M arsyas k neels a t t he l eft, h is h ands s ecured b ehind h is b ack ; b ehind h im,

a s mall,

h and

o n M arsyas ' s houlder ,

s tylised

t ree .

A pollo

s tand

b efore h im ,

h is

r ight

t he f laying k nife h eld i n h is l eft h and .

T o t he r ight i n t he b ackground i s a c olumn , s urmounted b y a s tatue . A rtemis s tands t o t he r ight o f t he c olumn ; s he wears a P hrygian b onnet a nd ,

h olding h er b ow i n h er l eft h and ,

s he e xtends h er r ight

w ith a f lute i n i t . R anged i n t he b ackground a bove t he main c haracters a re f our b usts, r eading f rom t he l eft: a w oman , t wo b eardless s atyrs , A pollo . 3 30 - 3 10 B .C . S .

R einach,

R epertoire d es v ases p eints

n o . A 23) 8 5 n o .

1 3 ;

C lairmont n o . 3 7;

I I

T rendall,

( 1900) 3 24 .1; L CS 3 09 n o .

T rendall ( supra 5 86 ;

F roning n o .

5 4. A 63

T hessaloniki; A ttic s kyphos. M arsyas s its o n ar ock a t t he r ight, h is r ight k nee d rawn u p t owards h is c hest .

H is h ands a re t ied b ehind h is b ack ;

h e f aces t he l eft,

b ut h is b ody i s t urned i n s uch a w ay t hat w e s ee h is b ack a cross t he s houlder b lades . S tanding b efore h im i s a y outh r esting o n a s taff, p robably O lympos . c a. 3 30 - 3 20 B .C.

2 07

B eazley ( supra n o. A 61) 3 9; A 64

P aestum ;

S chauenburg ( 1958) p l. 3 8.1; F roning n o. 5 3.

f ragmentary P aestan f lask ;

n o .

i nv .

n o . ;

d isplayed

i n t he m useum , c ase 3 3. M arsyas s tands , b ut w ith h is l egs h elf-bent, h is b ack p ressed a gainst t he t ree t o w hich h e i s b ound ; h e f aces s omewhat t o t he r ight .

H is

a nimal s kin f lute-case h angs f rom a b ranch a t t he l eft a nd h is s yrinxcase l ies o n t he g round a t h is f eet .

A pollo a pproaches f rom

t he l eft, h is r ight h and r aised i n a n a dmonitory g esture , t he f laying k nife h eld i n h is l eft . O n t he g round b etween h e a nd M arsyas, t he c ithara .

A w inged N ike s its u p a bove t he t ree a nd a M use ( ?) r eaches

o ut t o c rown A pollo f rom t he l eft. A b are-chested ( and n ow h eadless) m ale f igure b ends o ver M arsyas f rom t he r ight ; i ndications o f b ody-hair - p erhaps a s atyr? A s tately Muse o r g oddess i s e nthroned a t t he r ight . T races r emain o f a t l east t wo o ther f emale f igures, p ossibly M uses . c a .

e nd

4 th

c entury

B .C .

( 'Apulianising

l ate

P aestan

S chool'). T rendall, ( 1958) p l. 3 5, A 65

L ost.

' Paestan P ostscript',

P BSR X XI ( 1953) 1 63 f .;

S chauenburg

1 .2; F roning n o. 5 1. O riginally i n t he M iselli C ollection, R ome .

P raenestine

b ronze m irror f rom M onterotondo . M arsyas s tands a t t he l eft,

h is h ands b ound t o t he t ree b ehind h im ;

h e f aces r ather t o t he r ight a nd h is l eft l eg r ight .

I n t he c entre s tands a S cythian ,

b efore h im a t w aist l evel .

i s c rossed b efore h is

h olding t he f laying k nife

T o t he r ight s tands a y outh ,

h and t o h is f ace i n ag esture o f d istress,

h is r ight

p resumably O lympos .

I n t he b ackground, a c olumn . E arlier 3 rd c entury B .C. G erhard,

E S I V p l . C CXCV ;

p renestino%

( ?).

C . Maccabruni,

' Recupero d i u n n oto s pecchio

Q uaderni t icinesi d i n umismatica e a ntichitä c lassiche 6 ( 1977)

6 3 n ote 3 6. A 66

M useo C omunale , T omba C irilli .

P erugia ; n o i nv . n o . T ravertine .

E truscan f unerary u rn f rom t he

5 5 x 5 9 c m .

Marsyas s its o n a r ocky s eat i n f ront o f a t ree, b ehind h im; h e t ightening

t he

i s

b eardless .

b onds ,

t o

t he

T o

l eft

t he

r ight

h is a rms b ound

s tands

a S cythian ,

s tands a g rieving f emale f igure ,

p erhaps a t ransformation o f t he f requently l ong-robed A pollo o ften p resent. F inally, a t t he l eft c rouches a s mall f igure ( Huls: k neeling f emale f igure) . 2 nd t o i st c entury B .C . Y .

H uls,

' Urne

f ungraire

i ngdite

d u

l 'Institute H istorique B elge d e R ome 2 7

2 08

Musge ( 1952)

d e

P erouse ',

1 33-140 ;

S mall ,

B ulletin d e f ig .

2 1 .

M arsyas H anging A 67

T hasos M useum .

F ragmentary m arble s tatuette ; f ound o n T hasos .

S culptural s tyle c omparable w ith t hat o f t he P arthenon m etopes . C hest, s houlders a nd h ead o f ah anging M arsyas. 3 rd q uarter o f t he 5 th c entury B .C . P icard,

I I,

2 37;

B CH 6 0 ( 1936) 3 44 f f ., p l . 4 3; L ippold, H dA I II,

1 , 1 21;

G uide d e T hasos ( 1961) 1 40.

A 68

' In t he c ellar o f t he p r imary s chool a t B odrum '. W hite m arble s tatuette; h eight o f f igure : 6 7 c m . F ound a t H alicarnassus; E ski ( esme. / M arsyas h angs b y t he w rists f rom a t ree. T here a re t races o f r ed p aint o n t he b ody . P ost M äusolus.

B SA 5 0 ( 1955) 9 2 n o. 4 2, p l. 1 2. A 69

L arge-scale c opies a nd v ariations f rom t he R oman p eriod o f t he M arsyas f rom t he P ergamene s tatue-group , t hought t o h ave o riginated i n t he l ate 3 rd t o e arly 2 nd c entury B .C . N os . A 69 i ii-vi , b ecause o f t heir h igh q uality a nd c onsistent s tyle , a re g enerally t aken m ost c losely t o r ecollect t he l ost P ergamene M arsyas. T he t wo s upposed c ompanion f igures w ere:

a )

A c rouching , k nife-grinding S cythian ( the % Lrrotino9 , b est s een i n a m arble c opy i n F lorence ( Uffizi G allery 3 46) ; p robably i st c entury B. C .

B ieber, H f igs. 4 41-4; R obertson 5 36, p l. 1 69 b . b )

A s eated f igure o f A pollo, h is r ight a rm h eld o ver h is h ead, f ollowing a m arble t orso i n B erlin d iscovered a t P ergamon , a nd w ith r eference t o a ssumed r eflections i n o ther m edia .

F . W inter ,

K unstegeschichte i n B ildern ;

d as A ltertum ( 1900) 3 76 ,

A ltertümer v on P ergamon v ol. V II ( 1908) 1 28 f ., n o.

8 ; i d"

11; B ieber, H f ig. 4 45.

O n t he g roup s ee a lso : L ippold, H dA I II, 1 , 3 21; H . S chober, D ie K unst v on P ergamon ( 1951) 7 2 f f . ; B ieber , H 10 ; F leischer ( supra p . 1 02 n ote 2 ) 1 09 f f . ; R obertson , 5 36 w ith n ote- 8 7; A .H . B orbein , ' Die S tatue d es H ängenden M arsyas ' , M arbWinckProg ( 1973) 3 7 f f . A ccording t o F leischer t he g roup w as a m ythological v ictory m ovement o f A ntioches I II i n c ommemoration o f t he e xecution i n 2 19 B .C . o f t he S eleucid p retender A chaios , t he o riginal b eing a t S ardis . A gainst t his v iew , G .M .A . H anfman ( Studies i n C lassical A rt a nd A rchaeology - A T ribute t o P .R . v on B lanckenhagen , 1 979, p . 2 05) p roposes t he g roup a s am emorial t o t he S partan k ing K leomenes I II , l ocated

2 09

a t A lexandria.

S ee a bove, p .

1 0.

N ational A rcheological M useum , M adrid; M arble. L egs b elow t he k nees, a rms m issing. G reco-Roman ( Attic?). D on J .

D elgado ,

C atalogo d el Museo A rcheolgico N acional I

( 1883) n o. 2 713; R einach , R S I I, i i)

1 , 5 6.7.

L ocation M arble ; h . 6 3 c m . a pprox. A bove e lbows, b elow r ight m id-thigh a nd l eft k nee, m issing. S lender a nd y outhful f igure, b ut w ith a t hick b eard. i st c entury A .D . S ale c atalogue, S otheby L td.

i ii)

U ffizi G allery ,

F lorence .

i st c entury A .D . W . Amelung, B ieber , i v)

( 28 .6.1965) n o.

M arble ;

1 24.

v ery h igh q uality w orkmanship .

( ?).

F ührer d urch d ie A ntiken i n F lorenz ( 1897) 6 1

H 10 ,

f ig .

f f" n o . 8 6;

4 40 .

L ouvre, P aris; M arble. i st c entury A .D.

( ?).

E ncyclopgdie p hotographique d e Part . L e M usge d u L ouvre , 3 8) 2 32 A ; v )

I stanbul.

B ieber ,

H f ig .

2 -3 ( 1937-

4 39 .

W hite g rained m arble; f rom T arsus.

B roken a way a bove e lbows, b elow k nees. i st c entury A .D . G .

M endel ,

B ieber , v i)

( ?).

M usges I mpgriaux O ttomans : s culptures

H f ig .

I I

( 1966) n o .

5 34 ;

4 38 .

P alazzo d ei C onservatori,

R ome .

R eddish marble;

E squiline n ear t he A uditorium o f M aecenas .

f ound o n t he

H . 2 .66 m .

I mperial. E L

S tuart J ones ,

T he S culptures o f t he M useo C onservatori

( 1926)

1 65

f f.; R einach, R S I I, 1 , 5 6.4; A .W. Lawrence, Later G reek S culpture a nd i ts I nfluence o n E ast a nd W est ( 1927) p l . 3 9 ; H elbig 4 I I, 3 89 f . n o . 1 587. v ii)

U ffizi G allery, F lorence; n o. 2 13.

R ed-veined m arble.

H ead a nd a rms a re p oorly p roportioned r eplacements.

2 10

I mperial. A melung ( supra n o. i ii) n o. 8 7. v iii)

V illa B orghese, R ome.

M arble .

M ärsyas h angs f rom a p alm t ree ( modern?). I mperial. W inckelmann , M onumenti a ntichi i nediti ( 1821) 4 0, 4 . i x)

P alazzo D oria P amphili, R ome.

M arble.

E lderly M arsyas, a nguished e xpression . I mperial. A dI ( 1858) 3 21; M atz-Duhn n o. 2 45 ; R einach R S I , 5 42.

x )

M useo T orlonia , R ome ; n o . 3 08.

M arble.

I mperial. R einach , R S I I , 1 , 5 3.6. x i)

C asa M erolli, R ome.

M arble.

H ead m issing . I mperial. M atz Duhn n o . 2 46. x ii)

K arlsruhe.

F ound A larino.

M arble .

R ight f ore-arm a nd s hin m issing. I mperial. A A ( 1890) 4 ; R einach , R S I I, x iii)

R ome, O stia 3 19.

1 , 5 6.6.

M arble.

I mperial. S chauenburg ( 1972) 3 17 n ote 1 . x iv)

B erlin , 2 13 ; m arble.

F rom R ome.

T orso. I mperial. F . W inter , K unstgeschichte i n B ildern ; d as A ltertum ( 1900) 3 47 ,

2 11

3 .

x v)

H ermitage, L eningrad.

K ieseritzky n o. 3 18.

M arble.

I mperial. R einach, R S I II, x vi)

P alermo.

1 9.6.

M arble.

C omplete, b ut c lumsy w ork . I mperial. R einach, R S I II, x vii

1 9.11.

J ewett A rts C entre, W ellesly C ollege, M assachusetts. W hite M arble. I mperial. C .C . V ermeule, G nomon X L ( 1968) 8 19.

x viii) G orringe C ollection ; d isplayed w ith x vii. S triated r ed a nd w hite E gyptian s tone. T ree-trunk c hiselled a way i n a ntiquity t o m ake a s tanding s atyr . I mperial. C .C . V ermeule, l oc.cit. x ix)

K unsthaus, Z urich.

M arble.

T orso. I mperial. B loesh,

Z ürcher K unstgeschichtes J ahresberichte ( 1959) 4 3 f f .

R .D .

G empeler , W erke d er A ntike i m K unsthaus Z ürich , S ammlungsheft 5 ( 1976) 6 0-71, x x)

f igs .

1 7-19 .

N y C arlsberg G lyptotek , C openhagen.

M arble.

T orso. I mperial. E . B ielefeld, A A ( 1962) 9 2 f f. x xi

V illa A lbani, R ome;

i nv . 6 41.

A ntique s ection : h .

1 .09 m .

W hite m arble.

O nly h ead a nd t orso o riginal. I mperial. H elbig4 I V 3 24 n o. 3 347.

2 12

x xii)

C orinth.

M arble.

C orinth I X n o. 8 0.

F ragment o f a t ree w ith l egs o f ah anging M arsyas. S chauenburg ( 1958) 4 2-66 n ote 8 4. A 70

G abinetto G uardabassi , N orcia .

H eight c a .

P erugia .

B ronze k nife h andle f rom a t omb a t

1 5 c m .

Marsyas h angs f rom a t ree with a S cythian k nife-grinder ( smaller s cale) c rouching a t

t he l eft .

P robably 2 nd c entury B .C . N Sc ( 1880) 2 12, p l. 2 , f ig. A 71

1 6.

P rivate c ollection .

I ntaglio g em, r ed j asper;

' found i n G reece '.

D imensions n ot g iven . A pollo s its a t t he l eft,

v iewed f rontally ;

h im o n a r ock t o t he l eft . w ho o ver

f aces

t he h anging

t he l yre i s s et a longside

I n t he c entre , a c rouching k nife-grinder

M arsyas

a t

t he r ight,

s uspended

f rom a b owed

t ree .

L ate H ellenistic ( ?) - p erhaps s uspect ( see p .

1 05 n ote 3 6).

S chauenburg ( 1958) p l. 3 7.1.

M arsyas a nd O lympos. A 72

B asel

A ntikenmuseum

( on l oan t o);

A pulian c alyx c rater .

N ear t o t he L ycurgus P ainter. A c hubby , i thyphallic M arsyas s its o n a r ock s pread w ith a n a nimal s kin , h is b ody d irected t owards t he l eft ; h owever , h e t wists r ound t o t he r ight

t o e mbrace t he y outhful O lympos,

A lthough t he y outh i s p laying a p air o f e ncounter

i s

e ntirely e rotic

r ather

who s its b eside h im .

f lutes,

t han d idactic .

t he t one o f

t he

A l ightly c lad

f emale f igure s tanding t o t heir r ight t actfully h olds u p a s creen o f d rapery .

A bove a nd t o t he l eft s its A phrodite a ccompanied b y a s mall

w inged E ros .

B elow a nd t o t he l eft, a s mall P aniscos s tarts b ack i n

s hock. 3 55 - 3 40 B .C . H errmann , S ee:

A 89 ,

H G

p l .

3 2 .

3 .5 ;

R VAp

I ,

4 15 n o . 1 , p l . 1 45 .

L atin m irror - s mall P aniscos a larmed a t

M arsyas :

f urther a ctivities

o f

a p ossible I talian t raditional ' double-act ' i nvolving t he t wo

c haracters? A 73

N aples, R agusa C ollection 4 16 B .

L ucanian ( ?) c alyx c rater.

S tanding a t t he r ight, O lympos w ith d raped s houlders, i n h is l eft h and as taff, i n h is r ight a p air o f f lutes w hich h e h olds o ut t o M arsyas w ho a lso s tands .

T he s atyr r eaches f or t he y outh 's s houlder w ith h is

2 13

l eft h and , g esturing t owards t he f lutes w ith h is r ight .

T o t he l eft ,

an ymph s tands h olding a b asket . 3 rd q uarter o f t he 4 th c entury B .C . T rendall, L CS S upplement I , A 74

1 5, p l. I V , 3 .

N ostell P riory, Y orkshire.

L ucanian c alyx c rater, n o. 2 3.

A ccording t o d escription , s imilar t o A 73. L ater 4 th c entury B .C . A .D .

T rendall,

T rendall , A 75

i n

I n H onour o f D aryl L indsay

L CS S upplement 3 , 9 7 n o .

L ost;

B erlin F 3 206;

( 1964)

5 1,

n ote

1 0 .

A .

3 9 .

S outh I talian o inochoe .

( Restored,

d etails o verpainted). ( From d escription). M arsyas

s its o n a r ock ,

f acing r ight,

a rm r esting o n u pper t high, d ouble f lute .

O lympos s tands b efore h im f acing l eft,

f or t he f lutes w ith h is r ight h and . h is l eft a rm , w hich r ests o n a s taff . t he p air ,

s omewhat b owed f orwards,

l eft

r ight h and s tretched o ut h olding t he r eaching o ut

T here i s a c hlamys d raped o ver T o t he r ight, f acing a way f rom

an ymph ( ?) l eaning o n ap illar a nd p laying w ith a c at .

L ater 4 th c entury B .C .

( ?).

C .A . N eugebauer, F ührer d urch d as A ntiquarium - V asen ( 1932) 1 48. A 76

Metropolitan Museum,

N ew Y ork .

R elief o n t he b ack o f a b ronze

m irror. M arsyas s its o n a r ock d raped w ith a n a nimal s kin a t t he l eft, b lowing t he d ouble f lutes ( one n ow m issing) ;

h e i s d epicted i n r ight p rofile .

S itting o n a r ock a t t he r ight i s O lympos,

s hown i n f ull e astern

c ostume ; h is r ight f oot i s s et u p o n a r ocky l edge . H e r eaches o ut w ith h is r ight h and t owards t he f lutes o f h is master . I n t he b ackground b etween t hem , a t ree . c a. t he e nd o f t he 4 th c entury B .C. W .

Z üchner ,

G riechische K lappspiegel

H andbook o f t he G reek C ollection S ee:

( 1942) 8 9

( 1953)

A 78 ,

C ampanian r elief s itula ,

A 79,

s cene b /c ;

A lexandrian r elief v essel,

( cyclic); A 91, s uspect g em .

2 14

f "

f ig .

1 04 ;

G .M .A .

R ichter ,

11 .

s cene

3 rd c entury B .C . b ;

3 rd

- 2 nd

( cyclic) ; c entury B .C .

C yclic W orks. A 77

Mus .

N az .

V illa

G iulia,

R ome;

C oll .

C astellani

5 0668 .

C aeretan

o inochoe b y t he C astellani C aeretan P ainter . T wo s eparate s cenes , a )

A b earded M arsyas d ress .

o ne o n t he n eck ( a) ,

s tands a t t he l eft,

o ne o n t he b ody 09 .

w earing a t wo-feathered h ead-

P erhaps w ith t oo much f amiliarity h e r ests h is l eft h and o n

t he k nee o f A thena , w ho s its f acing h im , a nd p oints w ith h is r ight h and ( which a lso h olds a s tring o f b eads?) a t t he m irror s he h olds u p b efore h er .

I n t his o ne c an j ust make o ut h er t iny ,

r eflection .

A thena i s n ot s hown w ith t he f lutes ;

white-faced

s ome o f t he l ogic

o f t he s ituation i s l ost, a nd t he v ase-painter h as f ailed t o g rasp t he o riginal s ense o f t he e pisode . b )

A pollo s its o n a r ock , h and,

s upporting t he l yre o n h is k nee w ith h is l eft

h olding u p t he p lectron w ith h is r ight.

H e i s

f acing t he

r ight,

where a b eardless Marsyas s tands, t urned s lightly t owards

A pollo , n ebris .

a f lute b efore h is c hest i n e ach h and ; h e w ears a c loak o r A pollo i s a pproached f rom t he l eft b y aw inged N ike b earing

a g arland . M arsyas w ears b oots i n e ach s cene. 3 40 - 3 00 B .C . M . 5 9, A 78

D el C hiaro ,

E truscan R ed-figured V ase-painting a t C aere ( 1975) 3 9 f "

n o .

p l . 4 0 . M etropolitan M useum , N ew Y ork .

C ampanian b ronze r elief s itula .

( fig. 5 9). T wo l arge f aces, o ne b earded , o ne w ith h orns ( ?) , a re m ounted b eneath t he h andles . T here a re e ight f igures, f orming a f rieze a round t he b ody m ade u p o f s mall g roupings a nd i ndividual f igures w ithout a ny a pparent

l ogical s equence .

a )

( To t he l eft o f t he ' horned ' f ace) Ap assionately f luting Marsyas s trides t o t he r ight, h is c loak b illowing b ehind h im .

b )

( A t wo-figure g roup t o t he l eft o f a )

M arsyas s its o n a r ock a t t he

r ight, f acing l eft; h e h olds o ut a— h ooked f lute i n h is r ight h and . O lympos, r ock ,

i n f ull

v ery s imilar , c )

e astern c ostume a nd w ith h is l eft f oot s et u pon a

r eaches o ut h is r ight h and t o a ccept t he f lute . a lthough l aterally i nverted ,

( A t wo-figure g roup t o t he r ight o f a )

( The f igure i s

t o t he O lympos o f A 76) . T he O lympos-Marsyas

g roup o f b i s d uplicated. d )

( Three f igures t o t he r ight o f c ) t he r ight,

A s tanding M use ( ?) l ooks t owards

w here A pollo s its o n a r ock f acing r ight a nd w ith h is l yre

s upported o n h is l eft t high . A pollo b y t he b earded f ace ,

A M use o r w ingless N ike , s eparated f rom o ffers

a w reath

t o h im

i n h er

r ight h and ( she s tands b ack t o b ack w ith t he O lympos o f b ) . 3 rd c entury B .C .

2 15

e xtended

B ulletin o f t he M etropolitan M useum 2 5 ( 1930) 1 50 f f., f igs. A 79

G reco-Roman Museum, d ecoration . ( fig. 6 0).

A lexandria .

B ronze k antharos w ith r elief

L ow r elief w ith f requent i ncision .

T he n eck b ears a g arland f rieze , c ontaining s even f igures, a )

1 -4.

A thena s tands,

w ith b ucrania , a nd t he b ody a f rieze

s ubdivided b y r ocks a nd t rees .

v iewed i n r ight p rofile , b owed f orward a l ittle a s s he

b lows t he f lutes.

T o t he l eft, b ehind h er,

a t ree a gainst which

l eans h er s hield ; a t t he f oot o f t he t ree , a p yxis . T o t he r ight o f A thena i s a s pring n ymph s itting o n ar ock, s een f rom b ehind, a nd t urning h er h ead t o A thena . A bove , a b earded M arsyas c an b e s een p eering o ver a s tylised r ock ,

h is l eft h and r aised ;

t o t he r ight ,

a

t ree. b )

( To

t he

r ight

o f

r ectangular b lock ;

a )

A t

s its o n a p rojecting l edge , r ight .

t he

l eft,

a t ree

g rows

a t i ts f oot, a nother p yxis .

o n

a r oughly

T o i ts r ight, M arsyas

f acing t owards O lympos, w ho s tands a t t he

M arsyas ' l ap i s d raped a nd h e e xtends h is r ight h and ,

a f lute,

i n t he d irection o f h is p upil .

O lympos

h olding

i s d ressed i n

e astern c ostume , h is c hlamys f lying o ut b ehind h im ; h e h olds a p edum ( or l agobolon?) i n h is l eft h and ,

w hile h e r eaches o ut w ith h is r ight

h and t o t ake t he p roffered f lute . I n t he b ackground b etween t hese t wo s tands a f ully d ressed f emale f igure , s mall - p erhaps a s ar esult o f

p erspectival

d iminution?

M arsyas-Olympos s cenes ( c .f .

A n ymph

( ?)

o ccasionally

a ttends

A 73-75) .

A f ourth f igure i s s hown , s eparated f rom t he o thers b y a s tout t ree s et o n a r ock . T he t urn o f h is h ead i ndicates h im t o b e a n o bserver o f

t his

s cene .

h is r ight h and,

H e s its o n a r ock h olding a p edum o r c ornucopia i n a s taff o r s pear i n h is l eft;

h e may b e a s econd

g enius l oci. T o t he r ight i s a s mall t ree g rowing f rom a r ock a longside a s tatue-herm o n ab ase . T he t ree t erminating t he r ight o f t his s cene i s t hat w hich a ppears b ehind A thena i n a . 3 rd t o 2 nd c entury B .C . A .

A driani,

D ivigazioni i ntorno a d u na c oppa p aesistica d el Museo d i

A lessandria ( 1959) - D ocumenti e r icerche d 'arte a lessandrina 3 -4 ; r eviewed b y : C . P icard, R A ( 1960) i i, 7 1 f . ( agrees w ith A driani 's d ating) ; K . S chefold , A JA 6 4 ( 1960) 2 06 ( dates i t p erhaps c loser t o t he l ate 2 nd c entury B .C .) ; F . M atz , G nomon L II ( 1960) 2 90 f . ( " Greek s tyle o f c omposition i n a n I mperial c entralised c omposition').

D ouble C ontest S cene - P erhaps C yclic. A 80

R uvo, J atta 1 093; A ttic v olute c rater. K admos P ainter. T wo s eparate s cenes, o ne o n t he n eck ( a), o ne o n t he b ody ( b). I t

i s

n ot

e ntirely c lear

whether

t he

t wo

s cenes

r epresent

two

a lternative v ersions o f t he c ontest - o ne w ith t he m ore u sual a ulete Marsyas, t he o ther w ith a M arsyas who p lays t he c ithara - o r t wo

2 16

s ubsequent e pisodes o f t he s tory .

A s mall N ike a ppears a bove A pollo

i n b ; s ince n o N ike i s p resent i n a , t his i mplies t he o utcome t here i s y et t o b e d ecided ,

w hile h er p resence i n b s uggests

b een d ecided i n A pollo 's f avour .

t he c ontest h as

I f t he c ombination o f t hese two

s cenes i s t aken t o r epresent t wo c onsecutive e pisodes i n w hich M arsyas p layed

i n t urn o n b oth f lutes a nd c ithara ,

t hen t his c rater m ust b e

s een a s t he e arliest p reserved c yclic M arsyas w ork . a )

M arsyas i s s eated a nd p lays t he d ouble f lutes b efore A pollo ,

A rtemis ,

H ermes a nd a s atyr . b )

M arsyas

s its

p laying

t he

c ithara ,

A thena s tands b efore h im .

f acing

t owards

t he

r ight,

w here

E merging f rom b ehind t he c ithara i s a t ree

a nd a t M arsyas ' f eet ( for h e i s l ocated h igh i n t he p icture f ield) i s a t ripod s tanding o n a c olumn .

A pollo ,

s eated f acing M arsyas, h olds

al aurel s taff i n h is r ight h and ; h e i s s et r ather l ower t han M arsyas . A rtemis

s tands

t o t he

r ight

o f A pollo ,

h olding

a l owered

t orch

( ?) .

A s mall w inged N ike s tands a bove t he h ead o f A pollo . B esides t his m ain g rouping t here a re s ix f urther f igures : t o t he r ight o f A pollo ,

H ermes ( seated) ,

a nd a s tanding g oddess w ho w ears a c rown

a nd v eil , a nd h olds a s taff ;

t o t he l eft o f M arsyas, s et u p h igh , H ebe

s tands t alking t o a f emale f igure ( a M use?) ; y oung s atyr ( Simos) h olding a w reath ,

b eneath t hese t wo a re a

a nd a B acchante ,

w ith w hom h e

c onverses. T wo f urther t rees s uggest a l andscape s etting. M arsyas, A pollo , H ermes a nd S imos a re a ll i dentified b y i nscriptions . E nd 5 th c entury B .C . C lairmont n o .

8 ; A RV.' 184 ,

1 ; S ichtermann , G rV n o .

1 0 ,

p l .

1 3 ;

F roning n os .

2a nd 8 . F urther v ase-paintings i n w hich M arsyas p lays t he l yre o r c ithara : 1 ) A ttic

c alyx c rater o f

189,

1 9; F ronton n o. 4 ; e nd 5 th c entury B .C. 3 )

A ttic

b ell

3 ,

p l .

8 .2 ;

P ainter ,

4 ; 2 )

F roning n o .

t he K admos

184 ,

c rater o f

S yracuse

1 7427 ;

A RV 2

e nd 5 th c entury B .C . t he

F aliscan c alyx c rater o f

P othos

P ainter ,

H eidelberg

t he D iespater G roup ,

2 08 ;

A RV'

B erlin F 2 950 ;

A Z

( 1884) p l. 5 ; B eazley , E VP 7 3, 3 ; b eginning o f t he 4 th c entury B .C . 4 )

B oetian c alyx c rater

' whereabouts

u nknown ' ,

C lairmont

n o .

2 2

b ,

p l. 4 ; b eginning o f t he 4 th c entury B .C. S olitary M arsyas A 81

C ollection o f J .V . N oble. ( fig.

S outh I talian o inochoe.

1 9).

A s tele s tands a t t he l eft ;

M arsyas

i s

s hown i n t hree q uarter v iew

f acing t owards t his, a f lute h eld o ut i n e ither h and a t c hest h eight . H e

s its

o n a s tylised

r ocky

s eat,

2 17

a nd h is

f eet

a re

b ooted

- a n

o ccasional a ttribute o f M arsyas . T he s ober c haracter o f t he r epresentation t ogether w ith t he p ose ,

o ne

o f c ontemplation , s peak f or a M arsyas i nterpretation , p erhaps r elating t o t he s eries o f M arsyas-defeated w orks A 30 - 5 6 . S ee e specially A 40 . c a. m id 4 th c entury B .C. S chauenburg ( 1958) p l. 4 0, A 82

1 .

R VAp I 2 94 n o. 7 5.

V atican Museum, R ome; i nv . 1 192 . T orso ' . H eight: 2 00 c m . a pprox .

Marble s tatue,

t he

' Belvedere

I nscribed a s b eing t he w ork o f A pollonios o f A thens. A c opy ,

p robably n ot e arlier t han t he e arly A ugustan p eriod ,

o f a l ate

3 rd t o e arly 2 nd c entury B .C . m arble o r b ronze o riginal . A h eadless ,

a rmless

t orso ;

t he

l ower

l egs

A nsätze, a re missing b elow t he k nees. s omewhat t o t he l eft,

o riginally

c onnected

t he r ight s houlder l ower t han t he l eft ;

o f a b eard a re d iscernible a t

a s

T he u pper b ody i s t urned

t he t op o f t he c hest .

T he

t races

f igure

i s

s eated o n a p antherskin s pread o ver a n i rregular r ocky b ase ; a c orner o f t he s kin l ies o ver t he f igure 's l eft t high . T he a ntique h ole a t t he b ase o f t he s pine i ndicates t here w as o nce a t ail a ttached t here . T he s tatue h as m ost c onvincingly b een i nterpreted a s t hat o f a b ound

M arsyas,

which would c ertainly a ccount

s ubstantial A nsätze

i mplied

b y

t he

c ut-aways

a nd

f or t he l ocation-

h oles o n t he g lutaei. I nterpretation

a s

Marsyas

b ound:

S äflund;

i nterpretation

a s

f luting

M arsyas: H adaczek . S ee a lso : R . C arpenter , ' Familiar S tatuary i n R ome ' , M AAR X VIII ( 1941) 8 49 1; - a lso s uggesting c ombination w ith a n A pollo f igure k nown f rom a nother t orso, i bid. 8 8 f f., p ls. 2 7 f .; R obertson, 5 43, f ig.

1 69 a .

M arsyas: T he D ramatic C ontext. A 83

M us. N az. N aples; A ttic a mphora H 3 235. M eidias P ainter. I n

t he

c entre

w ith t he l yre ,

s its

( Much r estored). a f igure

r eadily i dentifiable a s

b ut w ith t he i nscription a bove

A pollo

c vv v ir 7oLL

s itting

; t o

t he

l eft i s a b eardless s atyr , a lso s eated , t he o nly f igure o n t his p iece w ithout

a n

i dentifying

i nscription .

T o

c haracter c omes a M use i dentified a s o f

c omedy .

mAp c (Ac .

S itting

t o

t he

r ight

t he

eAP \E A , o f

t he

,h olding u p t he f lutes i n h is

l eft

o f

t he

n ameless

,t he p atron M use

A pollo-like l eft h and .

f igure

i s

S tanding t o

t he r ight o f M arsyas i s KA ( Iliope) , M use o f e pic p oetry . T wo h alf-figures a ppear a bove t he A pollo-figure , s hown o nly f rom t he c hest u p: o n t he l eft a s atyr, T YRBA , a nd a s econd f igure a t P.A ,r i E L: . A s ingle r eference i n P lutarch ( de M us .

2 18

t he r ight,

1 8) t o O lympos a s a p layer o f

s tringed

i nstruments

c annot

e ntirely

j ustify w hat w ould b e a u nique

i nterpretation o f al yre-playing O lympos, while t he Mysian Mount O lympos s ited

i s i n

s urely

t oo

P hrygian

r emote a l ocation

K alainai .

S ince

f or a c ontest A pollo

h istorically

r eally

n eeds

n o

i ntroduction i t must r ather b e t hat t he i nscription b y A pollo b elongs t o t he y outhful s atyr t o t he i mmediate l eft w ho a ppears, i n t erms o f c ompositional b alance a t l east, a s t he c ompanion t o M arsyas . W hatever

t he

s pecific

i dentities

A pollo/Olympos f igures,

o riginally

i ntended

f or

t he

t he c areful l abelling o f t he two Muses,

d istinguishing t hem f rom t he p erhaps more o bvious E uterpe a nd E rato f or e xample , p iece . t his

w ould s uggest a l iterary o r d ramatic c onnection f or t he

T he f ormalised l ayout a nd e xtensive u se o f i nscriptions s et

w ork a part

f rom

t he m ajority o f o ther M arsyas v ases,

w hether

p urely mythological , o r w ith more o bvious d ramatic l inks . I t m ay b e t hat t he v ase w as p roduced a s a p rize v ase f or a l iterary o r d ramatic w ork h andling t he M arsyas s tory , o r t o c ommemorate a s uccessful p erformance . T owards t he e nd o f t he 5 th c entury B .C . M üller-Wieseler , A RV' A 84

1 316 ,

1 13 4 1,

4 88 ;

L enormant-De

W itte

( supra n o .

A 19)

I I ,

7 5 ;

1 .

A msterdam ; f ragmentary A ttic b ell c rater 2 476. K admos P ainter. A t

t he l eft,

a t all c olumn s upporting a t ripod ;

a t t he f oot o f t his,

t o t he r ight, s its M arsyas, t he f lutes o n t he g round b efore h im . M ost u nusually , h e i s d epicted i n af ull-length c ostume w ith l eggings ( apparently n ot

a s atyr-suit

a s A 68) ;

b earded f igure w ho s tands b efore h im . s tanding f igure , n ow u nidentifiable . l evel

w ith t he t ripod ,

h e

i s

i n

c onversation

w ith

a

F urther t o t he r ight i s a nother D irectly a bove M arsyas, o n a

i s s eated A pollo ;

t o h is r ight ,

a lso s eated ,

H ermes. E nd 5 th c entury B .C . C VA ( 2) S cheuleer, p l . 4 , 9 ; C lairmont n o . 1 2; A RV' 1 145, 1 4; F roning n o . 1. S ee a lso: A 18, A ttic b ell c rater o f t he K admos P ainter; e nd 5 th c entury B .C. A 85

M us. N az. N aples; p hlyax c rater H 3 370. A v ersion o f t he M arsyas s tory b eing a cted o ut

i n f olk c omedy o n a

s tage. B oth

c haracters a re c overed h ead t o t oe i n t heir c ostumes a nd w ear

masks.

Marsyas s tands a t t he l eft a nd c arried a c ithara;

c orresponds

w ith

t he

w ell

a ttested v isual

t radition w here

p lay t he l yre o r c ithara a t t he c ontest ( cf. c haracterised e ncountered .

b y

t he

l eafy

s taff

w ith

P .

which

2 17) . h e

B etween t he t wo p rotagonists, a t ripod .

2 19

i s

t his

M arsyas

A pollo i s f requently

2 nd q uarter o f t he 4 th c entury B .C . A .D . T rendall, P hlyax Vases' ( 1967) 4 0, 4 9; F roning n o . 4 3, p late 1 0.2. A 86

B erlin ;

I talian o xybaphon , F 6 9.

A pparently r elated i n c omposition t o A 85 , p erhaps h elping c onfirm t he i nterpretation o f t hat p iece . A pollo s tands a t t he l eft w ith a l aurel s taff a nd h olding a b asket o f f ruits ( ?) . h and ;

M arsyas s tands t o t he r ight w ith a l yre i n h is l eft

h e i s d ressed i n a s haggy s atyr-costume a nd a s atyr m ask .

I n

t he b ackground a bove t his p air a h alf-figure o f av eiled f emale w ith a s ceptre ; p erhaps H era . M id t o l ater 4 th c entury B .C . L enormant-De W itte ( supra n o. A 19) I I, p l. L XI. A 87

D estroyed;

f our

l ong

n ecropolis i n C yrene ;

r ectangular

s cenes

f rom

a g rave

i n

t he

w all-paintings .

T he G reek i nscriptions o n t he p ictures a ppear n ot t o e lucidate t he s cenes r epresented ; t hey a re r ecorded i n C IG I II , 5 25 , 5 149 b . T he f irst t wo s cenes s eem n ot t o i nvolve t he M arsyas s tory . i )

S ix f igures ,

i ncluding A pollo ,

w ho i s s tanding f rontally ,

l eft h and, p lectron i n h is o utstretched b aCkground , a n o rnamental d oor . i i)

A c horus o f s even f igures, a ctors i n t ragic c ostume ;

i ii)

r ight

h eads g arlanded,

a t t he r ight ,

c ithara i n

h and .

I n

t he

r anged b ehind t hree

a t able .

A pollo s tands a t t he l eft p laying t he c ithara a nd a ll a lone ; al ongr obed f igure , w earing a c loak , p rogresses t owards t he r ight b lowing a n e normous p air o f f lutes ; h e i s s urrounded b y a n a dmiring c horus, o ne o f w hom p oints a t t he f lutes . T he c horus h ere c omprises f ive a dults a nd t wo c hildren , g arlanded a s b efore .

i v)

T he f lautist, a bandoned t unic ,

a t

n ow s hown f rontally w ith

t he l eft .

s tands b y h im .

t he r ight ,

O nly o ne f igure , A pollo ,

l owered

f lutes,

s tands

a y outhful m ale i n s hort

p laying a n o utsize c ithara s trides t o

s urrounded b y a c horus o f s even a dults .

P resumbably t he f lautist i s M arsyas a nd h is s olitary c ompanion m ay b e O lympos .

T he p artisan g rouping o f t he c horus, h ere s eemingly s educed

b y A pollo 's i mpressive n ew i nstrument, r ecalls t he l ater g rouping o f t he M uses i n A pollo 's f avour a t t he c ontest o n s ome R oman s arcophagi -p erhaps e ven h inting a t a f oundation i n d rama f or t his p henomenon ( see p .

9 6 n ote

2 nd t o i st c entury B .C. J .-R .

P acho ,

W ieseler ,

l ater

1 0) .

( ?).

V oyage d ans l a M armarique e t l a C yrenaique ( 1827-29) 4 9 ,

T heatergebaüde u nd D enkmäler d es B ühnenwesens

2 20

5 0 ;

( 1851) + A tlas ,

F . p l .

1 3 ,

2 ;

R einach ,

R P

3 10 ,

1 -4 ;

T heatre' ( 1961) 2 39, f ig.

M .

B ieber ,

AH istory o f t he G reek a nd R oman

7 89 ( 'Tragic a ctors').

T wo F igures f rom a p resumed H ellenistic S tatue-Group. A 88

S culptural t ypes o f M arsays a nd a f emale n ature d eity o r ' Muse ' k nown f rom a n umber o f R oman c opies; f igures w ere f ound t ogether .

i n a t l east o ne i nstance, t he two

D ated o n s tylistic g rounds t o t he e nd

o f t he 4 th o r f irst h alf o f t he 3 rd c entury B .C . ( fig. 2 8). A pparently r elating t o a p ost-contest e pisode - s ee p . 3 9 f . M arsyas s tands w ith h is w eight b orne o n h is r ight l eg , r elaxed s lightly ,

c urvature t o h is b ody . b ehind h im ,

h is l eft l eg

i nducing a t ilt t o h is p elvis a nd a n o verall s ubtle H is

l eft e lbow r ests

a gainst

a p ine

t runk

w ith t he f ore-arm a pparently h aving p rojected f orwards .

H is n oble b earded h ead i s t urned a l ittle t owards h is l eft s houlder . H e w ears t he n ebris a nd h is h ead b ears a d istinctive s pruce-garland , a f airly c ommon a ttribute o f M arsyas . t he f lutes, b ut m ay h ave h eld t hem g roup , X I c /d .

C ertainly h e w as n ot p laying

( cf .

p robable r elief c opy o f t he

( figs. 2 6, 2 7). T he n ymph ( or ' Muse ') s its o n a r ock ,

h er u pper b ody n ude ,

h er

h ips a nd l egs d raped w ith a r obe , b unched f olds o f w hich e merge b eneath h er l eft t high . H er r ight k nee i s r aised u p , t he f oot b eing s upported o n ap rojection f rom h er s eat ; e xtended

t o t he

f ore .

h er l eft l eg i s

H er t orso l eans f orward t o a llow h er

r ight e lbow t o r est o n t he u praised r ight m ay h ave s upported h er h ead ,

l eg ;

h er r ight h and

w hich t urns s omewhat t owards h er

l eft s houlder ; t he s houlder i tself i s r aised a l ittle s o t hat t he u pper b ody a ppears t o t urn u pwards a nd o ut t owards h er l eft. O n t he g roup, s ee: B artoli ( supra n o . 9 2) 1 f f., f ig . 4 ; L ippold, H dA I II, 1 , 2 98 n ote 3 ( with b ibliography) - M arsyas:

L ysippean s chool c a .

3 20 - 2 80

B .C .; E AA I V ( 1961) 8 79 . M arsyas: a )

N ational

M useum ,

Z agreb ;

( as g ) .

H eight:

1 75 c m .

b luish m arble .

F rom M inturnae i n L atium

( fig. 2 8). i st t o 2 nd c entury A .D . H adaczek ,

3 18 ,

f igs.

9 3-94;

A rcheologico d i Z agrabio ' , b )

L .

C remna,

' Marmi d i M inturno n el Museo

B StM ( 1933-34) 2 5 f f . ;

L ippold ,

H dA I II ,

1 2 98 .

A rchaeological M useum , T ripoli . M arble ; e xcavated f rom L eptis M agna ; s ame l ocation a s h ? ( cf . L ippold , l oc .cit .) H adrianic ( ?).

2 21

R . B artoccini, L e T erme d i L epcis ( 1929) 1 36. c )

F ormerly H olkham H all, U .K .

M arble.

2 nd c entury A .D . A .

M ichaelis,

S ale ,

A ncient M arbles i n G reat B ritain ( 1882) 3 06 n o .

C atalogue

( 1959) 1 53 n o . d )

C hristie ,

5 .4 .1930 ,

2 4 ;

C .C .

1 9 ;

L ansdowne

V ermeule-D .von B othmer ,

A JA 6 9

1 9 .

V illa B orghese G ardens, R ome. M arble. C onverted i nto a H erakles b y t he a ddition o f s purious h ead a nd a rms . i st t o 2 nd c entury A .D .

H adaczek , 3 21, f ig. e )

9 5.

M useo C apitolino, R ome; m arble. H ead o nly; t races o f b roken-off s pruce-garland. H adrianic.

H adaczek, 3 20, f ig. 9 6; H elbig 2 I 2 88 n o. 2 38 ( not t raced i n 4 th e dn .). B erlin .

M arble.

H ead o nly .

A ntonine. B eschreibung d er a ntiken S kulpturen i n B erlin ( 1891) n o . f ig.

2 06 ;

H adaczek ,

3 20 ,

9 7.

N ymph o r ' Muse': g )

N ational M useum , Z agreb.

Y ellowish m arble.

F ound s ame l ocation a s a .

H eight: c a.

1 70 c m .

i st t o 2 nd c entury A .D . E .

H adaczek ,

h )

R ömMitt X VII ( 1902) 1 73-178 ,

p l . V I ;

C remna ( supra n o . A 88) .

A rchaeological M useum , T ripoli. M arble. E xcavated f rom t he t heatre a t L eptis M agna. P robably H adrianic.

B artoccini

( supra n o .

A 88 b )

1 38 ;

R . H oorn ,

A A ( 1938) 7 38 ;

T raversari, L e s culture d el T eatro d i L epcis Magna

( 1976)

G .

C aputo a nd G .

5 1

n o .

3 1,

p ls .

2 9-30. i )

M etropolitan M useum , N ew Y ork .

M arble ; f ormerly i n t he G iustiniani

C ollection . i st t o 2 nd c entury A .D . G .M .A .

R ichter,

( 1954) n o.

j )

C atalogue o f G reek S culpture i n t he M etropolitan M useum

1 94, p l. c xxxvii.

A lbertinum , D resden .

M arble.

F ormerly C higi C ollection.

2 22

i st t o 2 nd c entury A .D . P . H errmann ,

K atalog d er S kulpturensammlung D resden 2 ( 1925) n o .

2 41;

R einach ,

R S I , 3 13.4. k )

M us. N az. R omano, R ome.

M arble.

i st t o 2 nd c entury A .D . H adaczek ( supra n o. A 88 g ) 1 73, p l. V I ; H elbig4 I II, 2 11 n o. 2 295. 1 )

V illa B orghese G ardens, R ome.

M arble.

i st t o 2 nd c entury A .D . R ichter ( supra n o. A 88 i ) 1 01.

V aria A 89

M us .

N az .

V illa G iulia ,

R ome ;

i nv .

m irror ; s igned : V IBIUS P HILIPUS .

2 4

8 98 .

E ngraved L atin b ronze

F ound a t P raeneste .

A t t he r ight t here i s a l arge k antharos s et o n a l ow p edestal .

I n

t he c entre o f t he f ield, s tanding o n a l ow g roundline w e s ee a p aunchy s atyr l eaning w ith h is l eft h and a gainst t he p edestal ; h e i s s hown m ore o r l ess f rontally . H is r ight h and i s r aised a bove h is h ead , w ielding a l agobolon o r p edum , a pparently w ith t he i ntention o f s mashing t he k antharos . T o t he r ight a ppears t he s uperscription : M ARSUAS . A t t he l eft, s tanding o n ah igher, u ndulating p rojection i n t he g roundline i s a d iminutive p aniscos , w ith a s uperscription t o t hat e ffect ( PANISKOS) .

H e c ringes a way f rom t he i mpending b low .

R epublican p eriod; p robably 3 rd c entury B .C .

T .

D ohrn i n H elbig 4 I II n o .

2 681;

F .

C oarelli i n R oma m edio r epubblicana

( 1973) n o . 4 28, f ig . 2 2. Ap ossible r eflection o f t his c omposition : R epublican ( ?) i ntaglio g em , A GDS I V ( Hannover) n o. 2 84. A 90

V arious c ollections; a s eries o f v ase-paintings s howing a s atyr, h ands b ound b ehind h is b ack , b eing l ed c aptive b y a g uard i n e astern c ostume b efore a n e nthroned m ale f igure , p erhaps K ing M idas . L ate a rchaic t o c lassical p eriods.

a )

J .D . B eazley , P aralipomena ( 1971) 1 29 n o . M ärket); P ainter o f B erlin 1 686.

b )

A RV 2 2 73 n o. 2 2; B altimore ; t he H arrow P ainter.

c )

A RV 2 6 51 n o . 2 8; S yracuse 1 9878, f rom G ela ; N ikon P ainter .

2 23

1 73 ( Philadelphia

d )

A RV' 1 035 n o. 3 ; L ondon E 4 47, f rom C hiusi; M idas P ainter .

e )

M us . N az . P alermo ; A ttic s tamnos,

4 th c entury B .C .

C arettoni ,

6 1 f ., f ig. 5 ; B eazley - ? P erhaps a lso:

B lack-figure

kylix,

Wiener

V orlegebläter

( 1881)

P l .

I V .2 ; R ed figure v ase, M onInst I V p l. A 91

L ewes H ouse C ollection , U .K . g iven ; t all o void f ield .

1 0.

I ntaglio , m oss a gate .

D imensions n ot

S uperficially s imilar t o t he g ems w ith M arsyas a nd O lympos, c at . n os . 8 7-90 i n b asic d esign , p artially

a lthough t he d idactic g esture

o f

M arsyas

i s

l ost .

T he t reatment o f M arsyas ' musculature i s v irtuoso , b ut O lympos s eems s trangely

e maciated .

T he

c omposition

i ncorporates

c ertain

a nomalies ; M arsyas ' l eft a rm a nd l ap a re c ompletely d raped ; h is r ight f oot i s c arelessly c ut o ff a t t he e dge o f t he f ield . ' Perhaps l ate H ellenistic' J .

D .

B eazley ,

( Beazley) - s uspect.

T he L ewes H ouse C ollection o f A ncient G ems

( 1920) 8 7 ,

p l .

7 ,

f ound

i n

1 04.

A PPENDIX B : T he M arsyas S tatue i n t he R oman F orum. T he

o riginal

s tatue

v arious m edia .

d oes

n ot

s urvive ,

b ut

c opies/imitations

a re

T he s tatue s howed M arsyas a s a r ather p aunchy s ilenos , h is

r ight h and r aised u p b efore h im a nd a n a skos ( wineskin made f rom a n e ntire s kin ) s upported u pon h is l eft s houlder ;

h e w ore d istinctive a nkle-boots .

D iscussion o f t he l ocation o f t he s tatue within t he F orum R omanum i s i ncluded i n : E .

W elin ,

S tudien z ur T opographie d es F orum R omanum . A cta I nstitutis R omani

R egni S uecidae ( 1953) 8 9 f .; P . Z anker , F orum R omanum . D ie N eugestaltung d urch A ugustus ( 1972) ;

S mall ,

7 9

f f., w ith n otes. I t i s l ikely t he s tatue w as p laced i n t he c entral a rea o f t he F orum R omanum , m id-way b etween t he n orth a nd s outh s ides,

b ut n earer t he e astern e nd ,

i n

t he v icinity o f t he r ostra , a nd s haring t he a rea o ccupied b y t he s acred f ig , v ine a nd o live t ree .

B l

R ome ,

i n t he C uria , F orum R omanum .

T wo marble r elief p anels f ound

i n t he c entral a rea o f t he F orum R omanum b etween t he C omitium a nd t he c olumn o f P hocas . H eight:

K nown a s t he A naglypha T raiani .

1 40 c m .

M arsyas a ppears a t t he l eft o f t he r ight-hand p anel a nd a t t he r ight o f t he l eft-hand p anel .

2 24

I n e ach i nstance M arsyas i s v iewed m ore o r l ess i n r ight p rofile , h is h ead , r ight a rm a nd l eg b roken a way . i n t he s ame p icture-plane ,

A t h is b ack , a nd a pproximately

a n o verhanging f ig-tree ,

i ts b ase b oxed-

i n . O n t he l eft-hand p anel f igures a nd b uildings a ppear n ear t o M arsyas , b ut c arved i n s hallower r elief i n a b ackground p lane ; n ear M arsyas

o n

t he

r ight-hand

p anel

f igures

a ppears

c arved

r elief t han t he s tatue , a nd i n o ne c ase o verlapping i t, n earer ,

i n

d eeper

i ndicating a

f oreground d epth-band .

H adrianic. H . J ordan, ( 1967) 8 9 , I I,

Marsyas a uf d em F orum i n R om ( 1883) ; D .R . D udley , U rbs R oma p ls .

2 3-25 ;

E . N ash ,

P ictorial D ictionary o f A ncient R ome'

( 1968)

1 76 f ., 3 99.

B 2

D enarii m inted i n R ome ; L ucius M arcius C ensorinus . r everse :

O bverse : A pollo ;

M arsyas .

M arsyas a ppears i n r ight p rofile , r ight f oot s et b efore t he l eft, h is r ight h and r aised u p b efore h im, s houlder .

a n a skos s upported o n h is l eft

H e s tands o n a g round-line;

s urmounted b y a s tatue .

a t h is b ack i s ac olumn

O n most e xamples h e c an b e s een t o b e

w earing t he d istinctive b oots . 8 2 B .C. M .

C rawford ,

R oman R epublican C oinage ( 1974) 3 77-78 ,

S mall, f igs. 2 4, B 3

n o . 3 63 ;

p l . X LVII ,

1;

2 5 b , d -f.

M issing ( ?) . F ormerly c ollection G . L öschke , D orpat . a s tatuette f rom a w ell-head i n R ome . H eight : 2 3 c m .

F ragment o f

S urface d amaged ;

t high l evel

r ight

a rm ,

l eft

a rm

a nd

l egs

b eneath

b roken away . C learly v isible a re t he a skos, f eatures a nd t he u praised s tump o f t he r ight a rm .

Marsyas '

b earded

P erhaps i st c entury B .C./A .D . G .

L öschke,

S mall, B 4

f ig .

B dI

5 0

( 1878) 7 2

f . ;

J ordan ( supra n o .

B i) 8 f"

p l .

I II c ;

2 8 .

B ritish M useum ,

L ondon .

V iewed a s a n i mpression ,

I ntaglio , b anded o nyx ;

1 . 1 x 1 .0 c m .

M arsyas a ppears j ust a s o n t he d enarii B 2 ;

h e w ears b oots a nd s tands u pon a g round-line ;

b ehind h im a ppears t he

s ame c olumn s urmounted b y as tatue . R epublican ( ?). W alters n o.

1 566, p l. X XI; n ot i n S mall.

A PPENDIX C : D ubious I nterpretations, F akes, e tc. i )

D ubious I nterpretations.

C l)

D estroyed :

f ormerly P ompeii V I 9 ,

2 25

2 .

P ainted p anel f rom t he s outh

w all o f t he p eristyle . Ay outhful s atyr s tands a t t he l eft, l eaning a gainst a s tele w ith h is l eft e lbow r esting o n t op ; h e w ears a n ebris a nd h olds a p edum i n h is l eft h and . s yrinx .

A s mall c hild s tands a t

W hile

M arsyas

i s

t he r ight p laying a l arge

o ccasionally

s hown a s

a y oung

s atyr

i n

R oman a rt , a nd O lympos s ometimes p lays t he s yrinx , o verall t he R oman c haracterisation o f

M arsyas

a nd

O lympos

i s

l argely c onsistent ,

a nd

c ompletely d ifferent f rom t his r epresentation . A more t ypical v ersion o f t he Marsyas-Olympos t heme was p ainted i n r oom 2 6 o f t he h ouse ( here c at . n o . 8 1) . I t m ay b e

t hat

C l

i s

a n o riginal v ariant

o n t he

r eference t o m ore t raditonal i conography ,

t heme ,

e schewing

b ut t eis c annot b e

e stablished w ith a ny c ertainty . P erhaps V espasianic. R MB X , 4 2; H elbig, P n o. 4 41; R einach, R P 1 26, 4 ; S chefold, W P 12. C 2

D estroyed ; t wo p ainted p anels f rom t he s ame c eiling d ecoration i n t he s o-called ' Baths o f T itus ' , R ecorded

b y T urnbull

p robably N ero 's D omus A urea .

( below) a fter d rawings

b y P .S .

B artoli

a s

r epresenting: a )

( Turnbull n o.

1 5)

' Pan p iping b efore a n ymph ';

b ) ( Turnbull n o.

1 6)

' Pan e mbracing t he s ame n ymph '.

T here i s s ome d oubt whether t he ' nymph ' o f a may n ot i n f act b e a y outh i n l ong g arments ; h e/she w ears a s mall -C4 a nd r ests a gainst a l ong

s taff .

I n n etiher p icture

i s

' Pan '

r epresented ,

b ut

a s atyr .

O lympos s tands t o t he r ight o f M arsyas w ith a s taff o n I talian v asep aintings A 73-75 ( Marsyas s eated o nly o n A 75) . I f t he s econd p icture s hows t he ' same n ymph ', O lympos , a t

t hen i t

a nd t he f irst d id i ndeed d epict

i s l ikely t hat a d raughtsman 's e rror h as c rept i n ,

t he e ngraving s tage .

I n t his c ase t he t wo p ictures w ould s how

t wo r ecognisable v ariations o f M arsyas-Olympos i conography a pplied a s p endants, i ntimate

a s traightforward

d idactic v ersion

( b ) s ymplegma v ariant .

T his,

( a)

o f c ourse ,

a nd

t he

more

i s h ypothetical ,

a nd i mpossible n ow t o v erify . a )

T he s atyr s its o n a r ock a t t he l eft ; n ot p lay ( in t he d rawing a t l east,

h e h olds b efore h im ,

w hich m ay b e a t

f ault) ,

f lute ( rare) . T o t he r ight s tands t he y outh/nymph , g arments, r ight e lbow r esting o n a s taff . b )

b ut d oes a s ingle

d ressed i n l ong

T he s atyr s its o n a r ock n ear t he c entre , e mbracing t he y outh/nymph , w ho i s t rying t o e vade h is g rasp . A r ectangular b lock i n t he r ight f oreground m ay c onceivably b e a d iscarded s yrinx ,

n ot d elineated i n

f ull d etail b y t he d raughtsman . A fter A .D . 6 4. G .

T urnbull ,

R P 3 1,

AT reatise o f A ncient P ainting

1a nd 1 20, 3 .

2 26

( 1740) n os .

1 5 a nd

1 6 ;

R einach ,

C 3

A f urther

p ainted

p anel

f rom

t he

s o-called

' Baths

o f

T itus';

r eportedly n ot f rom t he s ame d ecorative s cheme a s C 2 . D escribed b y T urnbull a s d rawing

b y P .S .

' Apollo g iving a c rown t o a p oet ' ,

a fter a

B artoli .

A t t he l eft s tand t wo m ale f igures i n s hort t unics a nd w earing c aps, who a re e ngaged i n a nimated c onversation ; t hey may b e S cythians. A bove t hese, t here a ppears a f emale h alf-figure l ooking o n i n a n a ttitude o f s urprise o r d istress f rom a w indow f ramed w ith f oliage . O n a r ocky s eat a t t he r ight i s s eated A pollo, a longside;

h is l yre r esting

h e e xtends h is r ight h and t owards t he s econd p air o f

f igures , a t h is f eet, a nd i n i t h e h olds s ome e longated o bject .

T he

e ngraving i n T urnbull d efinitely g ives t his a s a s ort o f r adiant h alo ,

b ut t his m ay h ave b een s ubstituted f or t he p lectron w ith w hich

A pollo s ometimes m akes e xpansive g estures d raughtsman .

b y a n i ncomprehending

T he f inal t wo f igures o f t his s cene a re a m ale i n l ong

r obes k neeling b efore A pollo w ith a rms o ut-stretched i n a ppeal , a nd a b oy i n a s hort s houlder.

t unic

who

r ests h is

r ight

a rm

o n t his

f igure 's

R einach ( below) t entatively s uggests t hat t he k neeling f igure m ay b e O lympos p leading b efore A pollo ; s upplicant

i s

a n

a dult .

B ut

c learly t his c annnot b e , t here

i s

a p recedent

M arsyas o n t he e ngraved p lectron c at. n o .

3 2

s ince t he

f or a p leading

( 1st c entury A .D .);

t here t oo , a nd m ost u nusually f or a M arsyas f igure , t he s upplicant t o A pollo i s d ressed i n l ong c lothes a nd a c loak ; o n t he p lectron A pollo a lso g estures with h is r ight h and c ontaining a p lectron , b ut i s s tanding , a nd n o o ther f igures a re i nvolved . b e i nterpreted a s M arsyas,

I f t he s upplicant m ay

t hen t he y outh b eside h im w ould n o d oubt

b e O lympos . T wo S cythians a ppear a t t he l eft o f M osaic n o . 3 1 l eading M arsyas t o e xecution ( away f rom a s imilar g esturing A pollo , b ut m inus p lectron ) a nd a p air o f S cythians a ct a s e xecutioners i n many R oman h anging M arsyas

s cenes .

T he d evice o f a f igure v iewing a s cene o ver a w indow-sill , d ado o r o ther b arrier s ometimes c haracterises w orks r eferring t o d ramatic p erformances ,

w hich m ight g o s ome w ay t o e xplaining t he c ostume o f

t he p utative M arsyas . O nce m ore ,

h owever ,

t here c an b e n o d egree o f c ertainty a ttached t o

a ny i nterpretation a s aM arsyas w ork . A fter A .D . 6 4. T urnbull ( supra n o. C 2) n o. C 4

P ompeii ,

I 1 0 ,

7 .

1 8 ; R einach, R P 2 8,

9 .

P ainted p anel i n t he e ast w all o f o ecus,

p artially d estroyed b y a l ater l ararium n iche . A l andscape s etting ,

c a .

r oom 9 ;

1 20 x 8 8 c m .

w ith i n t he d istance t races o f b uildings .

I n

t he l ower a rea a t t he l eft t here i s a l arge o verhanging c rag , a t t he r ight,

a c olumn-like s tructure .

d rinking .

I n t he m iddle ,

a p ond w ith c attle

A lso a t t he r ight i s a f emale ( ?) f igure; a ccording t o

S chefold ( below) a s econd f igure c an b e d istinguished .

2 27

S chefold t entatively i dentifies t he p icture a s a v ariant o f t he c ontinuous n arrative p ainting c at . n o . I , w ith M arsyas a nd A thena i n t he mid a nd f oreground . c omposition w ith t he

T he p icture was i ntended t o b alance a

f all

o f

I carus

o n t he

f acing

c ompositional s cheme e mployed i s n ot i tself u nusual , l onger i dentifiable ,

wall .

T he

t he f igures n o

a nd i t i s o nly c ircumstantially t hat

i t c an b e

c onnected w ith t he M arsyas s tory v ia a s imilar j uxtaposition , t hat o f Iw ith B lanckenhagen 's I carus p ainting n o .

6 .

T he p icture c annot b e s ecurely i dentified a s aM arsyas w ork . c a. A .D . 4 0 - 6 0. D awson 4 6 ;

( supra n o .

I )

1 05

n o .

4 8

a ( ' unidentified

l andscape ') ;

S chefold ,

i n h is d iscussion o f c ompanions f or t he I carus p ainting o f I 1 0 ,

n o . 7 ) B lanckenhagen ( pp . i nterpretation o f t he s cene .

1 11

a nd

1 28)

d oes

n ot

f irmly

W P

7( his

s uggest

a ny

C 5 a )

B erlin , S mlg. U hden ; F 1 403. 1 .3 x 0 .9 c m .

I ntaglio, p aste.

( Impression).

S tanding y outhful m ale f igure ,

h ands t ied b ehind h is b ack t o a t ree .

V iewed f rom t he f ront . i st c entury B .C./A .D . F urtwängler, G SB 8 3 ( 'Marsyas?'). b )

B erlin , F 1 729.

I ntaglio p aste.

1 .8 x 1 .2 c m .

( Impression). A t

t he l eft s tands M arsyas

t urned

t o t he

r ight

e xecutioner) w ho , T he

- t o

( ?),

b ody d irected t o t he l eft,

l ook a t

t he

n aked man ( Apollo?

l eft l eg b raced a gainst a t ree ,

i dentification

b y

F urtwängler

r epresentation i s n ot s ecure;

o f

t his

h ead o r a n

b inds h im .

p iece

a s

a M arsyas

t he f igure-types a re s hared with

r epresentations o f t he b inding o f A mykos . R epublican. F urtwängler, G SB 9 3. C 6 a )

M usee

L apidaire ,

t he v icinity . t hick.

A rles .

H eight :

R elief 9 3 c m .

f ragment ;

l ocal

s tone .

F ound

i n

D eep r elief - t he f ragment i s 3 0 c m .

A b earded f igure , s tanding w ith l egs c rossed , a rms t ied b ehind h is b ack . P erhaps r emains o f a t ree b ehind h is l eft s houlder . i st t o 3 rd c entury A .D . E spgrandieu ,

I 1 23 n o.

( ?).

1 46 ( 'Marsyas?').

2 28

b )

M us e L apidaire , A rles . v icinity . M issing

H eight :

R elief f ragment ;

l ocal s tone .

F ound i n t he

5 0 c m .

b elow h ip-level

a nd d amaged .

B earded f igure,

a rms b ehind

h is b ack , a ttached b y t he w rists t o a t ree t runk . i st t o 3 rd c entury A .D . E sp f tandieu , C )

I X 1 08 n o.

Musge

H abert

( ?).

6 720 ( 'Marsyas').

ä PHCtel

d e V ille,

R eims .

f ragment ; c oarse l imestone ; f laking . H ead ,

l ower l egs a nd r ight a rm m issing .

l eft a rm b ehind h is b ack . f igure w as b earded ( cf .

S tatue

H eight :

3 5

o r

b as-relief

c m .

S tanding n ude m ale f igure ,

A t hick b reak a t

t he n eck

s uggests

t he

a a nd b - t he b eard i s c arved so a s t o j oin

t he c hin t o t he t op o f t he c hest) . i st t o 3 rd c entury A .D .

( ?).

E sp f tandieu, V 4 2 n o . 3 689 ( 'perhaps M arsyas?). C 7

C asa B uonarotti, F lorence. T wo

s culptural h eads ;

H owever ,

M arble.

p erhaps

f rom a M arsyas-Olympos

t he h eads m ight e qually h ave b elonged

s tatue-group .

t o a g roup f eaturing

C heiron a nd A chilles . i st t o 3 rd c entury A .D. P . A rndt

( ?).

a n d W . Amelung, P hotographische E inzelaufnahmen a ntiker S kulpturen

( 1893 - 1 940) 3 476 ;

S chauenburg ( 1958) 4 2-66 n ote 3 7 .

i i)

U ntraceable

C 8

A R oman s ilver b owl d epicting A pollo , m entioned b y S chauenburg ( 1958) 5 5

M arsyas a nd o ther f igures w as

n ote

9 7

a s

b eing

i n t he K estner

M useum , H annover . D r .

U .

G ehrig ,

D irector o f t he M useum ,

h as a ssured m e t hat t here i s

n o s uch o bject i n t he K estner M useum c ollection . i ii)

P robable F akes/Forgeries

C 9

L ouvre,

P aris .

S ix

S upposedly f ound c a .

f ragments

c ombined

t o

f orm

t hree

p anels .

1 740 a t t he C onservatorio d elle M endicanti , n ear

t he T emple o f C oncordia , R ome . D epicted a re :

A pollo a nd t wo M uses l istening t o M arsyas p laying ;

v ictory o f A pollo ;

t he

t he p unishment o f M arsyas .

R egarded a s a f orgery o n t echnical g rounds: V .

T ran

T am

T inh ,

M usge d e L ouvre 8 2; f igs.

C atalogue d es p eintures r omaines ( Latium e t C ampanie) d u

( 1974)

1 06

f f"

s ection :

1 07-116; R einach, R P 3 0, 6 .

2 29

' False

o r

D ubious '

n os .

P .

7 4-79 ,

C 10

L ost

( perhaps

i n L ouvre

s tores) .

R elief f ragment

o nce v isible

i n

t he e ast f acade o f t he c asino o f t he V illa B orghese . D rawing: T ophamianus, E ton B M 1 . 5 5 ( Calderi). A pollo s tands a t t he l eft h olding a c ithara ( ?); a t h is f eet a r eclining r iver d eity , b earded a nd h olding a p edum i n h is r ight h and .

A pproaching f rom t he r ight,

b ehind t he s houlders o f t he r iver

d eity , i s a w inged N ike w ho h olds a w reath o ver A pollo 's h ead . T o t he r ight a re a k neeling n aked k nife-grinder, v iewed i n r ight p rofile , a nd a s econd n ude m ale f igure , s tanding i n t he b ackground a t h is s houlder a nd h olding a p rojecting t ree b ranch . A t t he e xtreme r ight i s M arsyas b ald a nd b eardless, w ho s tands w ith h is h ands b ound b ehind h is b ack . T he a rrangement o f t he two g roups o f f igures ( Apollo-Nike-river d eity ;

t wo

f igures

e xecutioners-Marsyas)

o n t he

s arcophagus

c at .

r esembles n o .

t hat

X XI - w here ,

o f

t he

e quivalent

h owever ,

t he

t wo

g roups a re s eparated b y a nother f igure . A t l east a c onsiderable p art o f t he c arving i s n ot o riginal : A pollo ( apart f rom t he a rm h olding t he c ithara ) ; t he h ead o f N ike ; t he h ead o f t he k neeling e xecutioner ; m uch o f t he u pper b ody o f h is h elper ; m uch o f M arsyas f rom t he h ips u p . M ichaelis ( below) w ho h ad s een t he w ork f elt w hole s uspect .

t hat

i n a ddition c ertain o ther

f actors

r endered

t he

b est i t s eems l ikely t hat t he w ork w as a p astiche i ncorporating c ertain a ntique f ragments, p erhaps b ased o n t he j uxtaposition o f t wo

A t

s urviving b ut s eriously d amaged p ortions o f a s arcophagus r elated i n c ompositional t erms t o t he r ight-hand e nd o f c at . n o . X XI . M ichaelis ( supra n o. X ) 3 40 n ote 5 ; R obert, A SR I II, C 11

L ost, A t

f ormerly a t R ome.

t he l eft s tands L eda ,

p erched t he s wan ; c hubby E ros . M arsyas b lock ,

1 99.

P ainted p anel. l eaning a gainst a s hort c olumn o n w hich i s

t he f oot o f

t he c olumn s its

a d iminutive a nd

T o t he r ight o f t his g roup i s a t ree t o w hich a s eated

i s b ound ;

t he l eft .

a t

2 49 n o.

h e i s s een i n t hree q uarter v iew ,

f acing

t owards

H is r ight k nee i s r aised u p, t he f oot s upported o n a

a nd t he t high i s d raped w ith a l ooped-over s wag o f m aterial ;

t o t he r ight s tands A pollo ,

h olding a c ithara a t h is s ide , h is l ower

b ody s wathed i n d rapery . T he M arsyas-Apollo g roup i s ac lose , b ut s lightly n aive , i mitation o f t he g roup a s i t a ppears o n t he f amous M edici g em c at . n o . 4 3 ,

m inus

t he s mall p leading O lympos , w ho h as p erhaps b een r eincarnated i n t he d iminutive E ros, w ho s eems t o b e c rying .

N . B ouchard, P eintures a ntiques ( 1711) ( not n umbered); O . J ahn , B erichte d er s ächsischen G esellschaft d er Wissenschaft X XI ( 1869) 2 0 n ote 5 3; R einach, R P 1 6,

1 0 ( 'suspect').

2 30

i v)

M isattribution

C 12

P ompeii V I

7 ,

1 8 ( Domus M .

A sellini) .

P ainted p anel i n t he m iddle

o f t he n orth wall o f r oom 1 4 ( viridarium) .

S ubject:

V enus a nd

A donis. W ithin t he p icture f ield t he main s cene i s f lanked b y i mitation s tatuettes, s tanding b efore c olumns; o n t he l eft, C heirron a nd A chilles ( damaged) , o n t he r ight a s tanding g roup o f P an a nd a y outh ( Daphnis) , a nd n ot - a s P fuhl a nd R obertson ( below) - M arsyas a nd O lympos. R einach,

R P

6 4,

4 ;

P fuhl,

F ig .

6 69;

R obertson , 5 84 w ith n ote 2 21.

2 31

S chefold,

WP

1 01

( ' sub-Neronian ');

L IST O F I LLUSTRATIONS

F IGURE N O .

S OURCE

1

D rawing: P .B.R .

2

D AIR 5 3.507.

3

R ömMitt L XV ( 1958) p l. 3 0.

4

D rawing :

P .B .R .

W inckelmann , In o.

a fter R einach ,

D rawing: P .B .R .

6

S ichtermannKoch, p l. 8 2.2.

7

A GDS I V ( Hannover) f ig. n o.

8

P hoto: P .B.R. a nd 1 0

1 a nd J . ( 1821)

1 8.

5

9

R P 2 1,

M onumenti a ntichi i nediti

D rawings:

1 551.

P .B .R . a fter 1 867 d rawings D AIR W

3 40. 1 1 a nd 1 2

D rawings: P .B.R .

1 3

D rawing: P .B .R . a fter R einach, R Rel, 2 n o. 8 .

1 4

D rawing: P .B .R . a fter W . F röhner,

Mus es d e

F rance ( 1873) p l. 3 . 1 5

D rawing: P .B .R .

1 6

D rawing: P .B .R .

1 7

D rawing: P .B .R . a fter R einach, R Rel I II f ig . 3 54,

1 8

1 .

D rawing :

P .B .R .

a fter A .

G iuliano

( ed .) ,

Museo

N azionale R omano, l e s culture I , 3G iardino d el C hiostro ( 1982) f ig. a t p . 8 5. 1 9

R ömMitt L XV ( 1958) p l. 4 0.

2 0

D rawing:

P .B .R .

a fter

1 ( P.B .R .).

F urt ingler,

X VIII n o. 5 . 2 1

D rawing: P .B .R .

2 2

A GDS I V ( Hannover) f ig. n o.

2 3

R ömMitt L XV ( 1958) p l .

2 4

A GDS 1 -2 ( K ünchen) f ig. n o .

2 32

2 92.

3 6 .2 . 1 389 .

A G

P l.

2 5

A GDS I I ( Berlin) p l. 6 8, f ig. n o. 3 77.

2 6

S ichtermann-Koch, p l. 8 5.

2 7

S ichtermann-Koch, p l. 8 2.

2 8

H adaczek , f ig. 9 3.

2 9

R eports o f t he D epartment o f A ntiquities, C yprus ( 1984)

L XIX f ig. 2 .

P l.

3 0

D AIR 5 6.1258.

3 1

D rawing: P .B .R . a fter R einach, R P 3 1,1.

3 2

D rawing:

P .B .R .

a fter

1 867 d rawing,

D AIR W

3 56. 3 3

M onAnt X XXI ( 1926) p l. 3 0.

3 4

H errmann-Bruckmann , p l.

3 5

P hoto: P .B.R .

3 6

D AIR 6 8.4040.

3 7

R ichter, E GR f ig. n o. 2 51.

3 8

R obert, A SR I II f ig. n o. 2 12'.

3 9

J fNG I ( 1949)

4 0

W egner, p l.

4 1

A GDS I V ( Hannover) f ig. n o. 2 94.

4 2

D rawing:

X I,

P l.

17.2.

1 3.

1 47 b .

P .B .R .

a fter

A .

G allia 3 0 ( 1972) 2 37 f ig. 4 3

D rawing:

A udin ,

H .

V ertet,

1 .

P .B .R . a fter E spgrandieu, I 1 17 n o .

1 38. 4 4

D AIR 5 6.500.

4 5

H errmann-Bruckmann ,

4 6

D AIR 5 6.501.

4 7

A A ( 1959) 3 36 f f., f ig.

4 8

D rawing:

P .B .R .

I 10 f ig. 2 9.

a fter

1 01. R einach,

R P

3 2,

2

( adapted). 4 9

D rawing :

P .B .R .

n o. 3 6. 5 0

D rawing: P .B .R .

2 33

a fter

F urtwängler ,

A G

p l .

X XX

5 1

D rawing: p l.

5 2

P .B .R . a fter R 6mMitt 8 8 ( 1981) i i,

1 05.2.

D rawing:

P .B .R .

a fter

R einach,

R P

3 0,

1 -4

b ased

o n

( adapted). 5 3

P hoto: P .B .R .

5 4

R obert, A SR I II f ig. n o. 2 00.

5 5

R obert, A SR I II f ig. n o. 2 08.

5 6

S ichtermann-Koch , p l. 8 2, 2 .

5 7

P hoto: P .B.R .

5 8

K och-Sichter r nann , f ig. 1 79.

5 9

D rawing:

P .B .R .;

r econstruction

B ulletin o f t he M etropolitan M useum 1 50 f f., f igs. 6 0

D rawing : i n :

2 5

( 1930)

1 -4.

P .B .R . ;

A . A driani,

c omposite

o f

- i llustrations

D ivigazioni i ntorno a d u na

c oppa p aesistica d el M useo d i A lessandria ( 1959).

2 34

F ig.

1 .

C at. n o.

i g . 2 .

. A ppendix A 5 d t al

)

C at. n o .

F ig. 4 .

C at. n o. 2

F ig. 5 .

C at. n o. X X a

/ ,

F ig

F ig. 6

C at. n o.

C at. n o .

7

C at. n o

\

A ppendix A 2 9 ( figured f rieze o nly)

0

C O C . ) •

F ig.

F ig.

1 8

1 7.

C at. n o.

1 8 a

C at. n o. X X bi i

F ig.

1 9.

F ig. 2 0

F ig. 2 1.

A ppendix A 8 1

C at. n o . 2 8 a

C at. n o. I I b

t r -

2 2.

C at. n o.

A ppendi:.

F ig. 2 4.

C at. n o .

: c

F ig . F ig. 2 5.

C at. n o.

2 6 .

( detail)

C at.

n o .

X I

c

F ig. 2 7.

F ig . 2 8.

F ig . n o .

C at. n o . X 1 d -f

A ppendix . A .8 8 a

2 9 . 3 1

, a bove)

C at .

( detail

F ig. 3 0.

( righ

C at. n o . I I a

C,

C

3.

t .

n ( . ).

3 5.

C at.

n o. 3 0.

F ig. 3 8. F ig . 3 7.

F ig .

C at . n o . 4 3

at. n o . 3 9. C

F ig. 4 0.

n o. X iS c .( deta

C at, n o . 8 6

F ig. 4 2.

C at. n o.

4 5 ( reconstruction)

. _ . _ - _, -

. . . . . . . _

-

. . „ --

,

-

, ‘ 7 , 0

F ig .

4 5 .

C at.

n o .

s truction)

4 4 .

a bove)

C at .

n o .

e tail F ig.

4 6.

( left)

C at.

n o .

( detail) 1 g

4 7.

( below ) C at. n o . 8 4

7

F ig. 4 8.

F ig. 4 9.

C at. n o .

7 6

C at. n o. 8 7

F ig. 5 0.

F ig. 5 1.

C at. n o . 8 5

C at. n o . 8 3

F ig.

5 2.

( a—d)

C at. n os. V a —d

C at. n o. X II

F ig. 5 4.

5 5.

C at. n o .

C at. n o . X V

F ig. 5 6.

7 .

C at. n o . X IX

C at. n o . X X b ic I

C at. n o .

A ppendix A 7 8

C : 7 ! ) • H

A ppendix A 7 9