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The Tippling Serpent in the Art of Lakonia and Beyond

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The Tippling Serpent in the Art of Lakonia and Beyond 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 chthonic 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 5th century 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 4th century (Fig. I).2 Inside naiskos sits a in a 1. For lists of the stone to Geraldine Pat Han as reliefs, grateful Gesell, the kylix reproduced here Fig. 8. several of which remain Robert and 2. substantially nah, Hannah, Olga Palagia, Sparta, Archaeological Museum see comments unpublished, Dressel and Milch Alan Shapiro for their and 683: Tod andWace 1906, pp. 107, on h?fer 1877; Tod andWace 1906; An suggestions earlier drafts of this arti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 Athens 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 kantharos. 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 throne 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." Pergamon 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 6th century 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.
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