2 SARCOPHAGUS FOUND AT ARVI. [CHAP. While I staid at Khaniá, in April, I examined and had put together the fragments of the sarcophagus found at Arví, and thus discovered that several considerable gaps still existed in the monument. I thought it worth while to endeavour to render it as perfect as possible, and, before I left the island, I therefore caused fresh excavations to be made, on the distant spot where it was found, and had, ultimately, the great satisfaction of obtaining five additional fragments. When they were combined with those previously obtained, the sarcophagus was rendered almost as perfect as when it came from the chisel of the artist2. It is certainly interesting to see an ancient monument of Cretan sculpture. Scyllis and Dipoenos, who are spoken of as sons or disciples of Daedalos3, were natives of Crete1, and were among the most celebrated of ancient artists. They flourished about the fiftieth Olympiad, and, in their hands, the art of sculpture made great advances towards that wonderful perfection which it attained in ancient Greece". The subject represented on this sarcophagus is interesting, though not of uncommon occurrence on similar monuments. The naked Bacchante on the left", whose hair flows unconfined down her back, is playing on a tympanum, an instrument common to the rites of both 2 The pieces, on their arrival in England, were joined, under the inspection of Sir Francis Chantrey, and the sarcophagus was given, by Sir Pulteney Malcolm, to the University of Cambridge. It will be placed in the FitzWilliam Museum. 3 PAUSANIAS, II. p. 143. 4 PAUSANIAS, 1. c. CLEMENS ALEX. Protrept. p. 31. Ekúλns Kai Δίποινος, Κρητικω οἶμαι ἀνδριαντοποιώ. 5 PLINY, XXXVI. 4. "Marmore scalpendo primi omnium inclaruerunt Dipoenus et Scylis, geniti in Creta insula, etiamnum Medis imperantibus, priusque quam Cyrus in Persis regnare inciperet." WINCKELMANN, Werke, Vol. VIII. p. 309. QUATREMERE DE QUINCY, Le Jupiter Olympien, p. 180. foll. MUELLER, Handbuch der Archaeologie der Kunst, §. 82. HIRT, Geschichte der bildenden Kuenste bei den Alten, pp. 77-78. 6 See the engraving below, opposite to p. 7. 1 OVID, Ars. Am. 1. 541. Ecce Mimallonides sparsis in terga capillis. XXI.] BACCHANTE, TYMPANUM AND PANTHER. 3 Dionysos and Rhea, and said by Euripides to have been an invention of the Corybantes. It was made of an animal's skin stretched on a hoop, and is frequently seen in the hands of these attendants on Dionysos1. Like the cymbal it was unknown to Homer's age11, when the usage, even of that earlier invention the flute, was confined to the Phrygians 2, to whom its discovery is usually assigned 13, and who are said to have first employed it in the celebration of mystic rites1. On the body of the chariot is seen a panther, and the same animal is again observed to the right beyond the elephant, and also on the cornices at both ends of the sarcophagus. The presence of lions, tigers and panthers, in these processions of Dionysos, is usually accounted for by their supposed fondness for wine, which is both described by ancient authors, and implied in innumerable representations on works of ancient 8 EURIPIDES, Bacch. 58. Τύμπανα Ῥέας τε μητρὸς ἐμά θ' εὑρήματα. HORACE, Od. 1. 18. 13. 9 EURIPIDES, Bacch. 124. Βυρσότονον κύκλωμα τόδε μοι Κορύβαντες εὗρον. See LOBECK, Aglaophamus, p. 1144. The Indians attributed the invention to Dionysos: DIODORUS SICULUS, III. 58. The Phrygians assigned it to Rhea : DIODORUS SICULUS, II. 38. 10 MONTFAUCON, Antiquité expliquée, Tom. 1. Par. 11. Pl. CLXIII. 3. LE PITTURE D'ERCOLANO, Tom. I. Tav. XXI. p. 112. Tom. II. Tav. xxix. p. 175. Tom. v. Tav. xxxv. p. 153. MUSEO CAPITOLINO, Tom. IV. Tav. XLVII. 11 MILLIN, Monumens inédits, Tom. 1. p. 164. 12 OLYMPIODORUS, ap. Wyttenb. in Phaed. p. 146. et ap. Lobeck, Aglaoph. p. 298. 13 Marsyas is said to have been its inventor: see LE PITTURE D'ERCOLANO, 1. c. TELESTES in Athenaeus, XIV. p. 617. 14 OXFORD MARBLES, p. 21. HIMERIUS, Ecl. XIII. p. 210. LUCRETIUS, II. 620. the notes on LE PITTURE D'ERCOLANO, Tom. II. Tav. xx. and XXI. HOECK, Kreta, Vol. 1. p. 223. foll. LOBECK, Aglaophamus, Vol. I. p. 298. 15 OPPIAN, Cyneg. 111. 79. IV. 231 foll. STATIUS, Theb. IV. 658. MARTIAL, XIV. 107. Nos Satyri, nos Bacchus amat, nos ebria tigris, Perfusos domini lambere docta pedes. DIONYSOS WITH HIS THYRSUS, [CHAP. art 16. Thus the tiger was appropriately yoked to the car of Dionysos on his Indian expedition". 18 The youthful Deity is as usual standing in his car the weapon in his left hand is that with which he is generally armed 19. In a well-known representation of him made by an ancient artist, Polycletus, he held this thyrsus in one hand and a drinking-cup in the other 20, and is thus doubly armed in several existing ancient monuments. The thyrsus was a spear, the point of which was covered, sometimes with ivy22, but more commonly, as in the present instance, by the cone of a pine: the shining steel was rarely allowed to meet the eye. Mitrae are attached to the thyrsus, as they are to those of most other ancient monuments: they were seen on that carried by the colossal figure of Nysa in Ptolemy's celebrated procession 25. Unshorn locks, like those which we see fall over the shoulders of Dionysos, are generally found both in 16 GEMMAE MUSEI FLORENTINI, Tom. I. Tab. LXXXXII. PIERRES GRAVEES DU CABINET D'ORLEANS, Tom. I. Pl. 67. STUART'S ATHENS, Vol. 1. Pl. xxx. (on the Choragic monument of Lysicrates.) MUSEO CHIARAMONTI, Tav. XXVIII. MUSEO BORBONICO, Tom. VII. Tav. LXII. and Quaranta, p. 6. 17 NONNUS, VIII. 36. MARTIAL, XV. 20. 18 An exception to the rule is found in the MUSEO PIO-CLEMENTINO, Tom. v. Tav. VII. where see VISCONTI, p. 13. 19 I need hardly quote the "Parce, Liber, Parce, gravi metuende thyrso" of HORACE. 20 PAUSANIAS, VIII. p. 665. SIDONIUS APOLLINARIS, XXII. 31. Cantharus et thyrsus dextra laevaque feruntur. 21 See BUONARROTI, Osservazioni sopra alcuni medaglioni, p. 433. GEMMAE MUSEI FLORENTINI, LE PITTURE D'ERCOLANO, Tom. 11. Tav. XIII. XVIII. Tom. III. Tav. II. 22 MACROBIUS, Saturnal. 1. 19. "Cum thyrsum tenet, quid aliud quam latens telum gerit, cujus mucro hedera lambenti protegitur." 28 As in LE PITTURE D'ERCOLANO just quoted. 24 See BEGER's Thesaurus Brandenburgicus, p. 14. LE PITTURE D'ERCOLANO, Tom. III. p. 9. and VISCONTI, Museo Pio-Clementino, Tom. v. Tav. x. p. 19. 25 ATHENAEUs, v. p. 198. e. Μετὰ δὲ ταύτας ἤγετο τετράκυκλος ἐφ ̓ ἧς ἄγαλμα Νύσης—εἶχε δὲ ἐν τῇ ἀριστερᾷ θύρσον ἐστεμμένον μίτραις. XXI.] UNSHORN LOCKS, AND FEMININE FEATUres. 5 descriptions 26 and representations 27 of him: as are also the feminine features with which he is here represented 28. On some monuments 29 he is even clad in woman's apparel: MARTIAL, IV. Epigr. 45. In Lucian's Dialogues of the Gods, (Tom. 1. p. 207. ed. Hemst.) Eros says to Zeus, ὡς ἥδιστον ποίει σεαυτόν, ἑκατέρωθε καθειμένος βοστρύχους—καὶ ὄψει ὅτι πλείους ἀκολουθήσουσί σοι τῶν Διονύσου Μαινάδων. 27 See the MUSEO PIO-CLEMENTINO, Tom. II. Tav. XXVIII. and Visconti's observations, p. 56. ZOEGA, Abhandlungen, p. 24. 28 MONTFAUCON, Antiquité expliquée, Tom. 1. Par. 11. Pl. CLIII. LE PITTURE D'ERCOLANO, Tom. II. Tav. XVIII. p. 117. WINCKELMANN, Monumenti antichi inediti, Tratt. prelim. p. XLI. (Werke, Vol. vii. p. 85.) WOBURN ABBEY MARBLES, Pl. xvii. MUSEO BORBONICO, Tom. VIII. Tav. LI. and Sir WILLIAM GELL'S Pompeiana. He is called Onλúμoppos by EURIPIDES, Bacch. 353. OVID, Met. III. 607. MET. IV. 117. Virginea puerum ducit per litora forma. Tibi enim inconsumpta juventus, Conspiceris coelo: tibi quum sine cornibus adstas The observations of VISCONTI (Museo Pio-Clementino, Tom. vi. Tav. vi.) serve as a commentary on the expression quum sine cornibus adstas. The CARMINA PRIAPEA, XXXVI. Phoebus comosus, Hercules lacertosus, Trahitque Bacchus virginis tener formam. ALBRICUS PHILOSOPHUS, c. XIX. (in the Mythographi Latini of Van Staveren, p. 926.) "Erat enim imago sua facie muliebri." 29 Dionysos is thus represented, clothed in a female dress, on the reverse of a Greek medal of Commodus, struck at Nicaea: see the NUMMOPHYLACIUM REGINae Christinae, Tab. XLII. Num. 25. where Havercamp justly observes (p. 449.) that the God is represented "novo ritu, sedens videlicet, muliebri indutus veste longa, sceptrum laeva tenens, atque cantharum effundens in pantheram quae ante pedes est. Sine dubio ejusmodi signum Nicaeae exstitit." See also MAFFEI, Gemme antiche, Par. III. Tav. XXVII. pp. 44-5. GEMMAE MUSEI FLORENTINI, Tom. I. p. 162. MUSEO PIO. CLEMENTINO, Tom. VII. Tav. II. SENECA, Oed. T. 419. Creveras 6 DIONYSOS SOMETIMES DRESSED AS A WOMAN. [CHAP. and Apollodorus says of him that he wore a girl's dress from the time when he was a child 30; and also mentions his having received from Cybele a woman's tunic, in which he set out on his expedition to conquer India31. : Hence, when ancient polytheism received its modern form, in Rome, the statue of the youthful Bacchus was easily converted into that of a female saint32 and hence also we obtain, I think, a sufficient explanation of the reason why the effeminate deity was represented clothed in Venus's palla, in an ancient group which is praised by Pliny 33. This effeminacy of Dionysos's dress and character was undoubtedly exhibited on the Attic stage by Aeschylus, in his Edoni, a passage of which play is preserved in the parody of Aristophanes 34. Creveras falsos imitatus artus, Crine flaventi simulata virgo, Luteam pallam retinente zona. 30 APOLLODORUS, III. 11. 3. 31 APOLLODORUS, III. 5. 1. NONNUS also, XIV. 159. foll. represents Dionysos in a woman's dress. Πῆ δὲ γυναικείην φορέων ψευδήμονα μορφήν 32 MIDDLETON, Letter from Rome, p. 160. Similar conversions are alluded to by DYER, in his poem, "The Ruins of Rome." 33 PLINY, N. H. xxvI. 4. "Satyri quatuor: ex quibus unus Liberum patrem palla velatum Veneris praefert." I wonder that VISCONTI (Museo Pio-Clementino, Tom. III. Tav. XL. p. 51.) should compare this statue, clothed in the palla of Venus, with that of the bearded Bacchus in his syrma, and should not, seemingly, have supposed the little wearer of Venus's palla to have had a feminine countenance. 34 ARISTOPHANES, Thesm. 136. Пodaπòs ó yúvvis; from the Scholiast on which passage it is plain, that the words were addressed to Dionysos, in the Edoni, and ought undoubtedly to have a place among the fragments of that play, (where it is accordingly given to them by Mr DINDORF, Poet. Scen. Graec. Fr. Aesch. 55. p. 6) although we vainly look for them in the volume of the Reverend Professor Scholefield, the last English editor of Aeschylus, (see Aeschyl. Scholef. ed. 2da Cantab. 1830. pp. 386–7.) Túvvis is explained |