Fig. 164.
explained. It is evident that Hercules is engaged in some love adventure, as is proved by the lion’s skin in which the actor, who is jesting with a girl, is dressed, and the club which rests beside him. The figure on the right probably represents an old woman; on the left is a man contemplating the scene. With the exception of the girl and the woman in the middle, the masks are extreme caricatures; the costume of the two men resembles that in Fig. [163]. Fig. [165], a Pompeian wall-painting, may be here compared, because it evidently imitates Greek prototypes, and the scene represented in the centre belongs to the later comedy. The one actor with a curious head-dress and a spear seems to be a sort of Miles Gloriosus, the man in a reverential position speaking to him a parasite. The three youths who stand near wear no masks, and it is therefore doubtful whether they are to be regarded as part of the representation in the character, perhaps, of statists, who may have appeared without masks. Two old men to the right and left of the central scene, seated on a somewhat lower plane, and leaning on their knotty sticks, with serious official mien, are doubtless theatrical police, who had to keep order during the performance. It is not easy to say what place in the theatre they were supposed to occupy.
We gain some information concerning the costume of the satyric drama from a very interesting vase painting, which cannot, however, for various reasons, be represented here, and which we propose, therefore, shortly to describe. This represents the personages taking part in a satyric drama before the commencement of the performance; a group in the centre of the top row does not belong to the performers: this represents Dionysus resting on a
Fig. 165.
couch with Ariadne, near him is a woman holding up a mask, probably a Muse, and the little Eros Himeros. To the right and left of this group, which must be regarded as the ideal scene, stand three actors, each holding his mask in his hand (the strings by which they were held are visible); next on the right is Hercules, who may be recognised by his lion’s skin, club, and quiver; near him is the “Papposilenus,” his whole body covered with skin, a panther’s skin thrown over his left arm, and holding a short staff; we do not know the name of the third actor on the left. The chorus of satyrs consists of eleven persons, of whom only one has as yet put on his mask. That one is practising a dance in preparation for the performance. Most of the chorus are dressed alike with only a little covering of skin round their loins, and the short satyr’s tail; one of them, however, has a little garment of some material with a pattern, and another wears an embroidered dress with himation; he might be taken for an actor if his mask did not bear the satyric type like the rest, the pug nose and the pointed ears. In the middle of the lowest row two musicians are represented: a splendidly dressed flute player seated, in front of him stands a cithara player. Further to the left sits a young man holding a roll in his hand, another roll lies on the ground, a lyre is visible behind him. In spite of his striking youthfulness, this young man is probably the teacher of the chorus or the poet himself. The actors are bearded men, the chorus beardless youths. Two tripods close by probably suggest the prize to be competed for.