HESPERIA 75 (2006) THE TIPPLING SERPENT Pages 541-560 IN THE ART OF LAKONIA AND BEYOND

ABSTRACT

a on a The iconographie scheme of snake drinking from a cup appears series of now stone reliefs and terracotta plaques from Lakonia depicting seated figures, as to generally interpreted dedications local heroes. It is argued here that the on drinking snake in association with human figures first appeared Lakonian monuments the 5th as of the close during century b.c., perhaps away stressing association of the snake with the hero and, by extension, his friendly union with the powers. This iconographie motif, which developed within on the Lakonian series, was disseminated beyond Lakonia and appeared other as a types of monuments, where it functioned primarily heroic emblem.

a a The iconographie scheme of snake drinking from vessel is found fre on a stone quently series of reliefs and moldmade terracotta plaques from Lakonia that depict snakes in close association with seated male figures.1 These monuments, which range in date from the second half of the 6th b.c. to some century Roman times, show stylistic development but little or typological iconographie variation; the depiction of the drinking snake, evo however, undergoes fundamental changes. In this article I describe the lution and possible meanings of the drinking-snake scheme in association on with human figures, which first appeared Lakonian reliefs and plaques b.c. as a during the The motif functioned heroic emblem that was to later extended other types of monuments beyond the geographic borders of Lakonia. on a A good example of the scheme appears fragmentary stone relief b.c. a man dated to the early (Fig. I).2 Inside naiskos sits a in a

1. For lists of the stone to Geraldine Pat Han as reliefs, grateful Gesell, the reproduced here Fig. 8. several of which remain Robert and 2. substantially nah, Hannah, Olga Palagia, , Archaeological Museum see comments unpublished, Dressel and Milch Alan Shapiro for their and 683: Tod andWace 1906, pp. 107, on h?fer 1877; Tod andWace 1906; An suggestions earlier drafts of this arti 201-202, fig. 11; Stibbe 1991, p. 11, and to the re 19. of its artistic dronikos 1956; Stibbe 1991. See also cle, anonymous Hesperia fig. Because superior terra viewers for valuable for im Hibler 1993; Salapata 1993. The suggestions quality, this relief has been considered cotta are I a an plaques also largely unpub provements. also thank Conrad Stibbe work commissioned from Attic see am for to use the of n. lished, but Salapata 1992.1 permission photograph sculptor: Stibbe 1991, p. 11, 45.

? The American School of Classical Studies at 542 GINA SALAPATA

Figure 1. Stone relief, early 4th b.c. century Sparta, Archaeological Museum 683. Photo courtesy Archaeo logical Museum, Sparta

relaxed pose, facing left, with both head and upper body in three-quarter corner view. He is bearded and has short hair. One of his himation, loosely over arm wrapped around his legs, hangs down his left shoulder. His left rests on the broad, curved top of the chair and in his outstretched right hand he holds a . A snake turns its head toward the rim of the to cup, obviously approaching drink from it. same Fragmentary terracotta plaques from the period found in a de at a posit by the church of Ayia Paraskevi Amyklai (Fig. 2:a, b) bear similar aman on a image of seated chair and holding out a kantharos, with a coil ing snake turning its head toward the rim.3 Similar plaques from the site a aman sometimes include young male oinochoos standing in front of with a to serve can jug and strainer, ready him; in the background be seen the a man as a lower part of shield, which characterizes the warrior (Fig. 2:c).4 The same combination of man and servant appears on a stone relief from Gytheion, dated to the Hellenistic period.5 A 4th-cenrury b.c. stone re a lief in the Sparta Museum shows seated man, exceptionally represented with a in his left hand and a in his out of frontally, scepter phiale right, 3. Museum which an snake is Sparta, Archaeological upright drinking.6 6230/14, 6230/15, 6230/16, 6230/17. While a snake is on the Lakonian stone reliefs from the be 4. present Sparta, Archaeological Museum was not as n. ginning of the series, it originally depicted drinking from the 6229/1: Stibbe 1976, p. 15, 42, or even near a 4:2; 1992, 998, 77:a. cup positioned it, point well illustrated by the earliest of pl. Salapata p. pl. 5. Museum the reliefs, discovered in 1877 near 3).7 here is Sparta, Archaeological Chrysapha (Fig. Depicted 1002: Le a on an Roy 1982, pp. 279-281, couple facing right, seated elaborate with supports shaped figs. 1,2; Salapata 1993, p. 192, fig. 60. like a lion's The man, in the holds a kantharos in 6. legs. foreground, large Sparta, Archaeological Museum his outstretched right hand and extends his left hand forward, the palm 5408:Mitropoulou 1977, pp. 134-136, 61. open and facing the viewer. His head is also turned toward the viewer; he fig. on 7. Berlin, Museum 731: has large almond-shaped eyes and his lips appears the "Archaic smile." was Bl?mel 1963, pp. 22-25, figs. 42-44. The strong projection of his chin most intended to render a likely 8. Dressel andMilchh?fer 1877, out in His hair falls in braids down beard, originally picked paint.8 long pp. 304, 445 and n. 2;Milchh?fer 1879, his chest and back. He wears a and a himation. The not sandals, long chiton, pp. 128-129. The beard is easily chiton, represented by vertical folds, is visible only immediately above the rendered in frontal faces. THE TIPPLING SERPENT IN THE ART OF LAKONIA 543

2. Three of terra Figure generations it is that a sleeve line was rendered in on cotta from a ankles; very likely, however, paint plaque fragments single his forearm. The himation, indicated incised folds, leaves mold (a) and terracotta plaques (b, c) right by oblique his shoulder uncovered and after over his left shoulder from Ayia Paraskevi, Amyklai, late right passing hangs 5th-4th Archaeo over his back in a stiff bundle. century. Sparta, in is shown in lower relief and logical Museum (a) 6230/15, The woman, the background, entirely wears a 6230/16,6230/17; (b)6230/14; in profile. She long chiton and is shod in shoes with upturned Photos G. (c) 6229/1. Salapata toes. With her left hand she draws the edge of her himation away from her face in the so-called anakalypsis gesture; in her right hand she holds a pomegranate. In front of the couple, in the space under the kantharos, a a stand tiny figures of youth and maiden, both holding offerings: the a an a youth, in front, carries cock and probably egg, the maiden flower a and a pomegranate. From beneath the throne large bearded snake curls can to upward behind the seated figures.9 The Chrysapha relief be dated

9. A snake rises behind the throne 4th century b.c. or later, two snakes on a more are a seated man similar but slightly advanced depicted behind is not a relief from Sparta (Sparta, Archaeolog who, exceptionally, holding icalMuseum 3:Tod andWace 1906, drinking cup (Sparta, Archaeological p. 104, fig. 2; Dressel andMilchh?fer Museum 6003: Christou 1963, p. 85, 1877, pp. 307-309,448, pi. XXII). pi. 94:y). a much later to On relief, dating the 544 GINA SALAPATA

Figure 3. Stone relief from the ca. b.c. vicinity of Chrysapha, 540 731. Berlin, Pergamon Museum Photo J. Liepe, courtesy Staatliche Museen zu Berlin, Antikensammlung

most the third quarter of the b.c., likely around 540 B.c.10The "Archaic smile," the stiff poses and unnatural proportions of the figures as (such the extremely long left arm and the large palm of the man), and the crowding of the picture by filling all available space with iconographie an elements all support early date.11 an Another relief from slightly later in the Archaic period depicts a a enthroned couple in similar pose, but facing left, with snake wriggling in front of them (Fig. 4).12 The placement of the snake in this position was most likely intended to provide balance to the composition, since the are no case figures of the offering-bearers longer present. In this the snake is very close to the kantharos, but its head reaches up only to the foot of the cup.13 On other Archaic reliefs, the snake rises higher, holding its head over the rim of the kantharos (Fig. 5).14

com cas: Museum 10. Hafner (1965, pp. 69-70), 12. Sparta, Archaeological Museum Sparta, Archaeological with paring it contemporary bronze 415: Dressel andMilchh?fer 1877, 6518 (Steinhauer 1977, p. 166, pl. 146:?; the relief Hibler 451 work, placed Chrysapha pp. 309-310, pi. 23:D; Hibler 1992, 1992, p. 118, fig. 37) and toward the b.c. 34. end of the 6th century p. 116, fig. (Hibler 1992, p. 116, fig. 33). Contrary and attributed the Ionic influences 13.An unpublished relief in the to the view expressed by Stibbe (1991, seen in to Museum about same the snake here is not clearly the work the presence Sparta from the p. 11), clearly at of the artist a similar scene but shown as if it is to drink from the Amyklai Magnesian period depicts very going seems man kantharos. Cf. also another relief in the Bathykles. Her date, however, with the seated alone and facing too reaches dated to the 5th late. right; the snake slightly higher, Sparta Museum, early no.: 11.Dressel andMilchh?fer 1877, up to the bottom of the bowl of the century (no inv. Delivorrias 1970, p. 447; Hafner 1965, p. 68. The same kantharos. pp. 135-137, pl. 132:?; Stibbe 1991, vacui reason 14. Museum and two horror might have been the Sparta, Archaeological p. 14, fig. 9); archaizing reliefs, ca. b.c. one in the Dimitsana Museum for the irregular border of the relief, 6517, dated 520 (Steinhauer (inv. 1) and another in the Museum which closely follows the outline of the 1977, p. 166, pi. 146:x;Hibler 1992, Sparta also two near figures. p. 118, fig. 36). See repli (Stibbe 1991, p. 11, figs. 23,24). THE TIPPLING SERPENT IN THE ART OF LAKONIA 545

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ca. b.c. Figure 4 (left). Stone relief, 530 A second relief found near a bearded man, excep Sparta, Archaeological Museum 415. Chrysapha represents 23:D a himation and Dressel and Milchh?fer 1877, pl. tionally shown standing rather than seated, wearing holding a a slightly tilted kantharos in his right hand and fruit (pomegranate?) in his 5 Stone relief, ca. 520 b.c. one Figure (right). left.15 An upright snake, coiling in front of him, places its head above Sparta, Archaeological Museum 6517. as to handle of the cup but, in all previous examples, it does not appear be Photo courtesy Archaeological Museum, This relief dates to the first half of the 5th b.c. Sparta drinking. probably century a The relief illustrated in Figure 6 is good example of the iconographie as we type it developed in the High Classical period, and it is here that see a for the first time the snake clearly drinking out of cup.16 The man, now on a a with short beard and cropped hair, is seated chair rather than more arm throne, facing left. His pose is relaxed, his left resting casually on a a the back of the chair. The drapery is simplified to single garment, himation, wrapped loosely around his lower body and leaving his upper a a body bare. He holds in his extended right hand flat object, presumably a phiale, while snake, coiling under the chair, rises in front of him, touching its head to the rim of the bowl and obviously drinking from it. a Several other reliefs with representations of drinking snake belong to or one aman the Hellenistic Roman periods. In example (Fig. 7) holds a now an kantharos that has a distinctly Hellenistic shape, out of which man an upright snake is drinking.17 The bearded is here accompanied by on other, younger man who stands next to him with his right hand his hip.

15. Athens, National Museum 1417: fig. 16;Hibler 1993, p. 201 (3rd cen 18. Tod andWace 1906, pp. 104-105, tury b.c.); Stibbe 1991, p. 11, fig. fig. 5;Milchh?fer 1881, p. 294, pl. 17:2; Stibbe is certainly wrong in dating it Stibbe 1991, pp. 5,11, fig. 16. to the end of the 5th century. Cf. also two reliefs 16. Sparta, Archaeological Museum other, probably Hellenistic, 6519: Steinhauer 1977, p. 166, pl. 145 in which the snake drinks from the (second half of the 5th century). For kantharos: one with a naked oinochoos an n. the style, cf. Attic relief in the Vati (see above, 5); and another, inscribed, ca. b.c.: two can, dated 410 Fuchs 1961, with adorants (Sparta, Archaeo no no.: pl. 74. logical Museum, inv. Schr?der 17. Museum Sparta, Archaeological 1904, pp. 42-44, fig. 5;Tod andWace 3360:Mitropoulou 1977, pp. 56-57, 1906, p. 106, fig. 9). 546 GINA SALAPATA

Figure 6 (left). Stone relief, second Since the seems to an nor an be neither adorant attendant half of the 5 th b.c. standing figure century Sparta, of the seated man, he must be a or his son.18 The companion, perhaps Archaeological Museum 6519. as Photo inscription along the top, most probably to be restored "Choiras, son of courtesy Archaeological Museum, Choir[as]," suggests a shift in the character of the Lakonian stone reliefs: Sparta to to from votive offerings traditional heroes (as I argue below), offerings Figure 7 (right). Stone relief, 3rd for the who are as in Hellenistic recently deceased, here, commonly the b.c. century Sparta, Archaeological honored as heroes.19 period, Museum 3360. Photo courtesy Archaeo From the internal evidence of the Lakonian reliefs it appears that the logical Museum, Sparta a image of the drinking snake is secondary development. On the earliest was a reliefs the snake placed behind the seated couple. When, little later, was the field in front of the seated figures cleared of the diminutive of to fering-bearers, the snake moved the front and, inevitably, closer to the cup held by the man. The snake remained, however, an isolated element in no the composition, with clear role, and it could be depicted with its head or placed either below above the rim of the kantharos. In other words, in no the Archaic examples there is clear indication that the snake is going to, or was ever out intended to, drink of the kantharos. Eventually, however,

18. Le is an to Roy's suggestion (1982, attribute occasionally used in the Piraeus Museum, both with that the an between the mortal Kastor p. 286) figure represents distinguish inscriptions: Stibbe 1991, p. 11, figs. 20, adorant is not since he is and the persuasive, immortal Polydeukes (as for 21. For the heroization of private indi neither at a smaller scale nor on the chest of see depicted example Kypselos: viduals in the Hellenistic period, in front of the seated as adorants Paus. the of most man, 5.19.2), very young age recently Hughes (1999), who but his was usually are, standing by side; the standing youth when compared argues that this cult not viewed most he does not make a with the seated man is as importantly, incompatible incompatible with traditional hero of adoration. It is also with their as gesture unlikely identification twin cult. In fact, the heroization of con that we have here a of the brothers. was seen depiction temporaries by the Greeks as a Dioskouroi, Mitropoulou (1977, 19. Hibler 1993, p. 201. Cf. 2nd more as a continuation of traditional while it is true that the b.c. relief in the Dimitsana as a p. 56) suggests: century practice than decline. a on one the a absence of beard of figures Museum (inv. 344) and Roman relief THE TIPPLING SERPENT IN THE ART OF LAKONIA

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Figure 8. Fragmentary kylix from Ayia 5th b.c. Paraskevi, Amyklai, century Stibbe 1994, p. 82, fig. 14

was sometime around the middle of the 5th century b.c., the snake brought into direct association with the drinking cup, and consequently became more man was now closely linked with the holding it.The snake regularly represented with its head turned toward the opening of the cup, with the obvious intention of drinking from it. From this point forward the iconographie formula of the drinking snake became a standard feature of Lakonian art.20 It even appears in an as a a abbreviated, emblematic form, freestanding kantharos with snake to on b.c. coming drink from it, 5th-century kylikes from the Ayia Para at same skevi deposit Amyklai (Fig. 8), the deposit that produced many of terracotta even the plaques with seated figures.21 These images, when they as scenes appear in isolation, should be interpreted excerpts from larger that included a seated man.22

EARLIER OCCURRENCES OF THE TIPPLING SERPENT

a a was The iconographie scheme of snake drinking out of vessel not entirely new, but had been known in the Mediterranean since the , or found in cultic funerary contexts inMinoan and Mycenaean , Cyprus, and the Levant. Relief snakes, for example, crawl up several of the are so-called snake tubes found inMinoan , and similar examples area known from Cyprus and the of Syro-Palestine.23 These snake tubes

20. Cf. also a see not late-4th-century (forwhich Wace 1905-1906). vase, the snake is yet approaching stone relief from Messene: 22. Cf. an to drink. neighboring early-5th-century frag a man 23. Crete: Zervos Themelis 1998, p. 185, fig. 68. mentary kylix depicting seated 1956, pp. 32, 49, 21. Stibbe 11-14. with a kantharos and a snake 1994, p. 80, figs. writhing pis. 469-471, 603, 790, 791; PMIV. 1, has beneath it Conrad Stibbe kindly informed (Sparta, Archaeological pp. 140-147, fig. 110:b-f; Gesell 1976. me that more such sherds have been 1972. Museum 6116: Stibbe 1976, pp. 13,16, Cyprus: Karageorghis Syro found in other n. deposits, for example, 58, pi. 5:1; Pipili 1987, p. 63). As Palestine: PM IVI, p. 167, fig. 129; in the "Heroon the river " 38. by expected because of the date of the Branigan 1969, p. 548 GINA SALAPATA

Figure 9.Mycenaean jug from Ialysos with two snakes drinking from the spout. Jacopi 1930-1931, p. 321, fig. 68 are cylindrical stands with two opposing snakelike handles, used in the was cult of the "goddess with up-raised hands," who also connected with snakes. The function of the tubes was not to house snakes, as originally thought, but to support cups, usually made separately, in which offerings as could have been placed. The snakes may have been thought of sharing an an in these offerings, interpretation supported by unusual example of Late Minoan IIIC date found at Kavousi in eastern Crete. Here the cup has two relief snakes crossing the interior, implying that they would have or continuously partaken of the offerings, either solid liquid, placed within the vessel.24 to Jugs decorated with coiling snakes approaching drink from the are opening found in both Minoan Crete and . Small, perforated examples from Knossos have relief snakes climbing up the side to at and extending their heads the opening.25 Jugs found in cemeteries are on two Ialysos and Naxos decorated the shoulder with relief snakes to a or a approaching drink from strainer spout cup that takes the place on at one of a spout (Fig. 9).26 Others from graves Kos and Perati feature or two painted snakes, again shown drinking from spouts.27 In all of these cases the notion behind the image is similar to that of the snake tubes, on with the difference that the snakes the jugs would have been thought

24. Gesell, Coulson, and Day 1991, snakes used in the ritual. Dodecanese, Naxos, and Perati, 119. areas p. 162, pl. 63:d; Gesell 1999, p. 284, 25. PMIV.l, pp. 155-156, fig. that had close links during the e. Similar the around a pl. LXI:d, cylindrical vessels, Cf. snake writhing per middle phase of this period (Desbor but with attached to their forated vessel in the form of a wild cups sides, ough's "Aegean Koine": 1964, pp. 20, at have been found Knossos: PMIV.l, honeycomb: PMIV.l, pp. 155-156, 228). pp. 140-142, figs. 109, 111. There is fig. 118. 27.Mountjoy 1993, pp. 101-102, no evidence, however, that real snakes 26. Jacopi 1930-1931, p. 321, nos. 270,271; Iakovides 1969-1970, would have been served by these cups, fig. 68; Desborough 1964, pp. 13, 40, vol. 1, pp. 332-333, fig. 94, pis. 21 as Evans believed. Gesell (1999, p. 286) 150, pl. 7:c, d; PMIV1, p. 164, (no. 553), 102 (no. 280). Cf. another that some the 122. with strainer or suggests of cups placed fig. Such jugs example from Ialysos: PMIV.l, on to attract were common snake tubes held food cuplike spouts during p. 164, fig. 124. small rodents or insects as bait for the the Late Helladic IIIC period in the THE TIPPLING SERPENT IN THE ART OF LAKONIA 549

as of partaking specifically of liquid offerings. The illusion would have been even more realistic when the jug was tilted for pouring. Because of the funerary context of the Mycenaean jugs, it can be assumed that the one offerings would have been made in honor of the dead. Indeed, of the a "strainer-spouted jugs" from Perati had contained mixture of milk and a to honey, particularly appropriate offering the dead.28 An exceptional find from the Mycenaean mainland closely associates a a a the drinking snake with divine figure. It is fragment from large Late terracotta at Helladic IIIB figure found the Sanctuary of Amy klaios in Lakonia during the excavations conducted byTsountas in 1890.29 a on The left hand of the figure is preserved, grasping the stem of kylix; are a the wrist the remains of snake, which approaches the cup, presumably a to drink from it. The figure holding the cup is almost certainly divin a ity, and because of its large size the fragment might have belonged to cult statue.30

The iconographie scheme of the drinking snake survived into the Geo a metric period exclusively in funerary context. Geometric vases, especially are or from the Athenian Dipylon cemetery, often decorated with painted on relief snakes that writhe not just handles and shoulders but also inside are the rim.31As chthonic creatures, the snakes generally believed to reflect an the funerary purpose of these vases, interpretation reinforced by the scenes on funeral often depicted the bodies of the vases.32 near a was The Geometric image of the snake the rim of vessel carried on into later periods. A Protoattic jug from the Kerameikos, apparently on a based Lakonian bronze prototype and made especially for funerary as scene on two in use, shown by tiieprothesis painted the body, has snakes to the round emerging from its mouth.33 The snakes would have appeared was a be drinking from the liquid when the jug tilted for pouring. Finally, Late Corinthian oinochoe of the 6th century b.c., which also appears to a on a copy metal original, bears its handle relief snake that divides into two snakes crawling along the rim.34

some 28. Iakovides 1969-1970, vol. 2, PM IV1, p. 164, fig. 123; and K?ster 1913, pp. 40-43. a 33. pp. 59,86,232 (no. 553);Mountjoy pitcher-olpai with high handle dec Demargne 1964, pp. 336-337, two 1993, p. 128. For the mixture of milk orated with ridges shaped like figs. 428, 429; Kerameikos VI.2, pp. 175, to see and the no. and honey offered the dead, snakes extending partway along 456-459, 49, pis. 38-40. Od. 10.519. rim: Davison 1961, p. 59, figs. 72, 73. 34. London, British Museum B39: an 39:3. 29. Tod andWace 1906, p. 244, Two oversized vessels from Attic Payne 1931, p. 214, pi. Two iso no. bear relief snakes: a a 794; Demakopoulou 1982, pp. 55 grave also one, lated examples from much later no. has a dotted snake or 56, pi. 26, 68a, ?. The original pitcher, touching period (perhapsHellenistic Early height of the figurewould have been the mouth of the vase with its head as Roman) come from the t?menos of ca. m if ca. m if if to an at Broneer 0.55 standing, 0.40 drink; the other, oinochoe, has Isthmia: 1955, seated. a similar dotted snake on the handle: p. 134, no. 30, pi. 52:d; Isthmia II, p. 29, 30. Briese and Docter Demakopoulou 1982, pp. 87-88. 1994, pp. 2,4, figs. 1, pi. 14:c;Michaud 1971, p. 848, fig. 103. A from the Both are with relief snakes 31.See,e.g.,PMIVl,p.l65, 2,4-6. regular-sized pitcher kraters same two on on fig. 125;Ahlberg 1971, figs. 33, 36; grave has relief snakes the slithering the handles, their heads nos. turn to are Kerameikos VI.2, pp. 428-435, 20 handle, which again their heads directed toward the interior. These a a the mouth of the vase: Doc to as 23, pis. 10-15. Cf. flask from grave Briese and likely have been employed cult a ter a inMiletos with snake in relief around 1994, pp. 4-7, figs. 7-10. vessels in connection with chthonic next to the neck, its head the opening: 32. Coldstream 1977, pp. 117-118; cult. 55o GINA SALAPATA

THE MEANING OF THE TIPPLING SERPENT SCHEME

The first appearance of the drinking-snake motif after the Archaic period now is in the 5th-century Lakonian reliefs discussed above. The snake is a scene as we part of larger including figures and, have seen, the scheme is an the result of internal iconographie development within the Lakonian two series. The combination of previously separate iconographie elements, kantharos and snake, into the scheme of the drinking snake cannot, how or a ever, be considered entirely accidental, the result of misunderstanding of the earlier type in which the snake was situated behind the throne.35 was com The notion of the drinking snake probably familiar to the local as munity from the survival of earlier artifacts, such the Mycenaean cult vases on figure from the Amyklaion and local Geometric with snakes the now rim, and possibly also metal vessels, lost.36The image would thus have been easily accepted by informed viewers who could comprehend and ap a preciate it.37Moreover, the fact that it enjoyed such long life in Lakonia suggests that the local people must somehow have been familiar not just with the visual vocabulary but also with the ideas that it conveyed. What notions, then, would the tippling serpent have suggested? An early scholarly opinion regarded the figure holding the kantharos in these scenes as a deceased man and the snake as an incarnation of his man soul, which goes to drink from the cup in place of the dead himself.38 was Support for this interpretation sought in the frequent depiction of snakes near graves, either as live animals or as decoration.39 Since the recesses seen near snake dwells in of the earth and is commonly graves, it is not surprising that it has been connected with the dead. Rather than an representing incarnation of the dead man's soul, however, the snake by seen as a a assume the grave should be guardian, role these reptiles often

now 35. As Tod andWace (1906, p. 110) (1909), in support of the argument drinking instead of him. Elderkins the Lakonian as andAndronikos (1956, p. 298) have that the snake embodies the soul of the interpretation of reliefs vases to rebirth argued. deceased, cited Geometric with allusions and 36. a as as a to See, e.g., fragmentary Geo painted and relief snakes, well (1924, p. 15) led him explain the vase a on two of the snake as a ref metric with painted snake Cretan altar of Hellenistic date with image drinking a a on erence to who is the shoulder and relief snake climbing snakes drinking from bowl placed Dionysos, offering one handle: At the Geometric the of his up Droop 1929, p. 59, top. best, however, cup immortality containing the the association blood/wine to the soul-snake. fig. 36. Cf. also jug from the Athe examples show only s.v. nian Kerameikos based on a Lakonian of the snake with the dead, and in no 39. LIMC VII, 1994, p. 433, n. an metal vessel (see above, 33). way prove that the snake represents Polyxene (O. Touchefeu-Meynier); 37. Cf. Dentzer 1982, p. 499; B?rard incarnation of the soul. K?ster (1913, Vermeule 1979, p. 20, fig. 15;Harrison n. that man 1983, p. 10. pp. 81-82, 7), realizing the [1922] 1955, pp. 328-329, figs. 96,97. to are on 38. DarSag II.l (1892), pp. 408 in the Lakonian reliefs is unlikely be Snakes also depicted Archaic s.v. Draco own that in Klazomenian terracotta 409, (E. Portier); Furtw?n feeding his soul, suggested sarcophagi: later the scheme was used with K?ster gler 1883, pp. 24-26; Elderkin 1924, periods 1913, pp. 47-49; Egli 1982, out to cf. a terracotta chest of the late p. 9;Harrison 1899, pp. 214-215; reference the original symbolism. p. 106; [1922] 1955, pp. 325-326; Nilsson Kontoleon (1965, pp. 372-373, n. 87) 7th century b.c. from Thebes, with two as an snakes on the cover: Boehlau 1955, p. 199; Egli 1982, pp. 105-113; explained the image indication 1888, man to 356-358. Effenberger 1972, p. 136; K?ster 1913, that the belonged the world of pp. pp. 40-41, 62-72,573-574. Wide the dead, with the snake in his grave THE TIPPLING SERPENT IN THE ART OF LAKONIA 551

a in .40 Another possibility is that the snake became symbol of death because in Greece, as in many other cultures, it was associated with the earth to which all mortals return.41 In still other cases it could embody the Erinys, the angry spirit of the dead.42 as Seiffert argued convincingly against the interpretation of the snake the theriomorphic appearance of the soul of the honored dead.43 He rightly remarked that, if this were the case, the appearance on several Lakonian one reliefs of two figures but only snake would have been awkward.44 He same scene wondered why the dead would appear in the in both human one and animal form, and why the two forms would interact closely with man another in the examples where the allows the snake to drink from saw a a his kantharos.45 Instead, he in the snake separate being, was serving the great Earth divinity who originally manifested in this form.46 Because the daimon inspired fear and awe, he had to be placated with offerings of drink.47 a Support for Seiffert's view, at least in Lakonian context, may be found an b.c. in early-5th-century relief from Charouda in the western Mani.48 a a It portrays young warrior in short chiton and greaves standing in front a to of large upright snake. The warrior is preparing deposit his shield on case the ground, where his Corinthian helmet already lies. In this it seems not an certain that the snake does embody the warrior's soul, but is independent, superhuman being, venerated by him.49 Andronikos consid a a or ered the relief dedication to hero daimon appearing in the form of a as a snake, and interpreted the warrior representation of the dedicator.50 on a A similar upright snake appears another Lakonian relief, in front of a standing youth who holds spear.51 Finally, several other Lakonian reliefs,

40. the of on Snakes guarded the Golden showing slaying Eriphyle top Harrison [1922] 1955, pp. 18,332-339, of a tomb out of which arises a 358. Fleece, the Apples of the Hesperides, large snake: no. s.v. and fountains and springs, probably LIMCl, 1981, p. 548, 3, 47. Seiffert 1911, pp. 121-126; were Alkmaion Rhomaios 217-218. because they considered genii loci, (I.Krauskopf). 1914, pp. 1 43. Seiffert cf. 48. autochthonous beings: Dar Sag II. 1911, pp. 114-120; Gytheion, Archaeological Mu seum (1892), pp. 406-408, s.v. Draco (E. Pot Rhomaios 1914, pp. 213-217,226; 1: Schr?der 1904, pp. 44-46, Dentzer 496-497. The snake tier); Lacroix 1965, pp. 121-122. Ac 1982, pp. fig. 6;Mitropoulou 1977, pp. 63-64, not on cording to Pliny (HN16.S5), the snake does appear funerary stelai before fig. 20; Andronikos 1956, pp. 301-302; was the Hellenistic the guardian and familiar spirit of period. Hibler 1993, p. 202, fig. 6. man: 44. On Geometric and Archaic vases the dead K?ster 1913, pp. 68-71, 49. An unpublished Boiotian oino n. there are two snakes: Rhomaios 112-113, 7; Dentzer 1982, p. 497. For usually choe in the Louvre reportedly represents as a in 219-220. an two women the snake guardian sanctuaries, 1914, pp. upright snake flanked by see Bevan 45. Seiffert with or 1986, pp. 261-262. 1911, pp. 117,120-121; hands raised, either in surprise in Rhomaios Kontoleon 41. Langefass-Vuduroglu 1973, p. 81; 1914, p. 218; adoration: Burr 1933, p. 608. 32. Kontoleon 1965, pp. 389-390. Herodo 1970, p. 50. Andronikos 1956, pp. 301-303; tos was 46. Seiffert (1.78.3) reports that the snake 1911, pp. 120-126; followed byMitropoulou (1977, pp. 63 a cf. K?ster n. who considered "child of the earth," and (1913, pp. 81-82, 7), 64), who suggests that this local hero indeed snake mon with him. Drakontes the in many mythological partly agrees protected community war, hence as sometimes seem to daimones as a sters, such Typhon, Ladon, Echidna, represent the representation of the dedicator who were to have existed since and Hydra, claimed the goddess Earth thought warrior. as their mother or olden and whose cult was taken grandmother. times, 51. Sparta, Archaeological Muse over the 42. K?ster 1913, pp. 71-72. Cf. the by Olympian deities; see, e.g., um 558:Tod andWace 1906, p. 189, in the battle of for no. Tyrrhenian , formerly the Apollo against Python 558;Mitropoulou 1977, p. 66, in control of K?ster Bourguignon Collection , : 1913, p. 87; fig. 21. 552 GINA SALAPATA probably dating from the 5th century b.c., depict isolated upright snakes; seem once most a these again to represent chthonic beings and likely had votive function.52

Although the identification of the figures and the interpretation of scenes on the depicted the Lakonian reliefs have long been debated, it is most accepted by scholars today that the reliefs and plaques with seated at were to figures, least in pre-Hellenistic times, offerings dedicated local an area heroes, Lakonia being exceptionally rich in hero shrines.53 Surely the heroic nature of the human figures would have been emphasized by an as the addition of the snake, independent superhuman being, in close sociation with them.54 Indeed, the intimate connection between heroes and snakes is reflected in the literary tradition throughout antiquity.55 a In Lakonia the snake might have been considered representative of the underworld divinities. Hekataios (FGrH 1 F27, apud Paus. 3.25.5), one entrances referring toTainaron, the Lakonian promontory where of the a was to was located, mentions snake that called "the dog of Hades," a hint that in Lakonia there was a snake associated with the underworld, an or perhaps earlier alternative form of Kerberos.56 sources are Literary unfortunately silent about the iconographie scheme some can of the drinking snake.57 Nevertheless, suggestions be made about on monuments not itsmeaning. Since the earliest Lakonian the snake is yet associated with the kantharos, it is possible that the drinking-snake scheme was in association with human figures developed during the first half of the 5th century b.c. as another way to stress the close association of the snake with the hero, and by extension the hero's friendly union with the hidden

Museum associates the here as a 52. Sparta, Archaeological Stibbe (1991,1994) fig underworld, depicted prostyle on a 5,355,6166,6180, 6360:Mitropoulou ure on the earliest reliefs with Dio building, late-6th-century black nos. see the Eucharides Painter 1977, pp. 221-222, 29,31,33-35, nysos. For further bibliography, figure kalpis by 189. and also the figs. 138,140-143; Stibbe 1991, p. 42. Salapata 1993, p. (Charlton 1958, pl. IX:a); See also Dressel andMilchh?fer 1877, 54. The snake's role in the context evidence from Ar. Ran. 143 (K?ster n. The snake pp. 319-320; Tod andWace 1906, of Lakonian ideology remains obscure 1913, p. 108, 2). large nos. even in carved on a rock in the of pp. 113,135,170, 5, 355; Andro though it figures prominently necropolis art Thera could have been a nikos 1956, p. 286. Other reliefs with Lakonian from the Early Archaic representative one or two are the on. It on