Footnote 87:[ (return) ] Œdipus, VV. 455-473.
Footnote 88:[ (return) ] Imag., I. 19.
In our frieze, however, the myth is represented in an entirely different manner. The scene is not laid on shipboard, but near the shore of the sea, where, as the action shows, Dionysos and his attendant satyrs are enjoying the contents of two large craters, when they are attacked by pirates. The satyrs who are characterized as such by their tails, and in most cases (9 + 2:7) by the panther-skin, forthwith take summary vengeance upon their assailants, of whom some are bound, others beaten and burned, while others take refuge in the sea, only to be changed into dolphins by the invisible power of the god.
These modifications of the traditional form of the story have usually [89] been accounted for by the necessities of plastic art; and this view has in its favor that the representation in sculpture of any of the other versions which are known to us, would be attended by great difficulties of composition, and would certainly be much less effective. Reisch, however, has suggested [90] that this frieze illustrates the dithyrambus which won the prize on this occasion, and that the variations in the details of the story are due to this. There is no evidence for this hypothesis, inasmuch as we have no basis upon which to found an analogy, and know nothing whatever of the nature of the piece in which the chorus had figured.
Footnote 89:[ (return) ] E.g. OVERBECK, Plastik,3 II. p. 92; Friedrichs-Wolters, Bausteine, p. 488.
Footnote 90:[ (return) ] Griech. Weihgeschenke, p. 102.
The general arrangement and technic of this relief, the skill with which unity of design is preserved despite the circular form, the energy of the action, and the variety of the grouping, have often been pointed out. More particularly, the harmony and symmetry, which the composition exhibits, have been noticed by most of the later writers who have had occasion to describe the frieze. It is here, however, that we find the divergencies and inaccuracies which have been alluded to above, and these are such as to merit a closer examination.
To begin with the central scene, which is characterized as such by the symmetrical grouping of two pairs of satyrs about the god Dionysos and his panther and is externally defined by a crater at either side, we observe that, while the two satyrs immediately to the right (I¹) and left (I) of Dionysos (0), correspond in youth and in their attitude toward him, the satyr at the left (I) has a thyrsus and a mantle which the other does not possess. These figures have unfortunately suffered much; the central group is throughout badly damaged, the upper part of the body and the head of Dionysos especially so. Of the tail of the panther as drawn in Stuart's work, no trace exists. The faces of the two satyrs and the head of the thyrsus are also much mutilated. The other two satyrs (II:II¹), whose faces are also mutilated, correspond very closely in youth, action, and nudity. In these two pairs of figures it is also to be noticed that the heads of I and II at the left face the central group, while the heads of I¹ and II¹ at the right are turned away from the centre, toward the right. By this device the sculptor has obviated any awkwardness which might arise from the necessity of placing Dionysos in profile.
Passing now to the scenes outside of the vases, we observe that, of the first pair of satyrs, the bearded figure at the left (III), leans upon a tree-stump, over which is thrown his panther-skin, as he contemplates the contest between his fellows and the pirates, while against his right side rests a thyrsus. The corresponding satyr on the right (III¹), also bearded, but with his head now nearly effaced, wears his mantle slung over the left shoulder as he advances to the right, offering with his right hand the freshly filled wine-cup to a youthful companion (IV¹). The latter, with panther-skin over left shoulder and arm, and club (partially effaced) in outstretched right hand, is moving rapidly to the right, as if to join in the battle; his face (also somewhat mutilated) is partly turned to the left, and despite his attitude of refusal he forms a sort of group with his neighbor on that side (III¹), and has no connection, as has been wrongly assumed, [91] with the following group to the right (V¹). Corresponding with this youthful satyr, we have on the left (IV) a nude bearded satyr (face somewhat damaged,) armed with a torch instead of a club, moving swiftly to the left to take part in the contest. He has no group-relation with his neighbor on the right (III), although he maybe supposed to have just left him. The relation is not sufficiently marked in the case of the corresponding figures on the other side (III¹, IV¹) to injure the symmetry.
Footnote 91:[ (return) ] British Museum Marbles, IX, p. 114.