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THE J. PAUL GETTY MUSEUM JOURNAL Volume II The J. Paul Getty Museum Malibu, California Volume II Jin Frel, Editor Published by the J. Paul Getty Museum, Malibu, California © 1975 The J. Paul Getty Museum All rights reserved ISBN 0-89236-001-1 Produced in Chicago by Ares Publishers, Inc. BERNARDO ASHMOLE OCTOGENARIO DE MUSEO GETTIANO BENEMERENTI PARS SECUNDA Contents Introduction 5 The Stele ofMyttion, Bonnie M. Kingsley 7 The Telemachos Workshop, Jif i Frel 15 Two Statues ofHerakles, Steven Lattimore 17 A White Lekythos in the Getty Museum, Joan R. Mertens 27 The Cottenham Relief, Mary Moore 37 Mosaic of a Lion Attacking a Horse, Norman Neuerburg 51 Two Attic Funerary Stelai in the J. Paul Getty Museum, Al. N. Oikonomides 53 A Red-Figured Lekythos, Martin Robertson 57 Zu zwei Sarkophagplatten in J. Paul Getty Museum, Konrad Schauenburg 61 Zum sogenannten Eubouleus, Gerda Schwarz 71 Four "Fayum Portraits" in the Getty Museum, David L. Thompson 85 Columellam ... aut mensam ... aut labellum, Jochen R. A. Twele 93 The Westmacott Jupiter, Cornelius Vermeule 99 The Westmacott Jupiter, Addendum, David Rinne and Jifi Frel 108 Mantegna and theAra Pads, Michael Vickers 109 Four Boeotian Ape Figurines from the /. Paul Getty Museum, Leslie E. Preston 121 Introduction Bernard Ashmole, one of the greatest connoisseurs of ancient sculpture, after a fine career with the British Museum and at Oxford University, has spent the last five years helping us form the antiquities collection at the J. Paul Getty Museum. Thanks to him the quality of our collection has been maintained. This page intentionally left blank The Stele of Myttion The identity of the young girl portrayed on the grave stele sides, while the reverse is rough-picked. The fourth and of Myttion (Fig. 1), formerly among the Elgin marbles little fingers of the right hand have been recut, the con- at Broomhall1 and now the oldest of the large collection tours of the chin retouched. Traces of bright red from the of fourth-century Attic funerary sculpture in the J. Paul original polychromy are retained on the right foot. The Getty Museum in Malibu, has always presented some- painted ornament of the pediment is very poorly pre- thing of a puzzle.2 served. The surface of the right side of the stele has been The subject of the relief is common. A girl turns to her obliterated. Pale traces of the former paint can be dis- left, glancing at a bird which she holds in her out- tinguished with the aid of good light, however, on the left stretched left hand.3 Her curly hair is short-cut and bound half of the pediment. The name of the deceased, Myttion, by a narrow, painted ribbon or band, evoking the image the M "almost certainly fourth-century", according to of Pollux' mask: Sterling Dow,5 is painted between two lightly incised lines. To the left, above, was depicted a roll of long cloth, laid parallel to the diagonal edge of the stone (Fig. 2). An identical roll was surely painted symmetrically on the The slab itself is peculiar. It is disproportionately tall right side, and, between the two, another appropriate and narrow; the odd, trapezoidal pediment is free, with- ornament, such as a palmette. The bolt of fabric may out lateral pilasters. Carved architectural elements, in- represent the long tainiai which were tied around funeral cluding the moulding between relief and pediment, are monuments, or it may be a winding cloth.6 Similar absent. Above all, Myttion's coat, with its tubular sleeves representations appear in relief on the pediments of and stiff fabric, knee-length and open over her chiton, several other grave stelai:7 is unique for an Attic grave stele. Few precise parallels have so far been cited for the coat in classical Greek art. 1. Eupheros, Athens Kerameikos: AM 79 (1964) 48, 1; The girl, therefore, has sometimes been hesitantly iden- 49; 51, 1; Propylaen Kunstgeschichte (Berlin, 1967) tified as a servant, a young barbarian, or both. Fig. 85; Deltion 24 (1969) pi. 126. The monument, which was brought to Britain from 2. Kallisto, Athens N.M. 732: Conze 79 (36); AM 79 Greece by Lord Elgin, was sculptured from a slab of fine- (1964) pi. 81, 2; Deltion 24 (1969) pi. 127b. grained Pentelic marble (71 x 22.6 cm.). The rough-cut 3. Pythodor[os], Athens N.M., from Boeotia: Conze lower section was originally inserted into a base. The 1455a (fig.), see also fig., p. 25. figure itself was carved at the very surface of the slab, 4. Stele of a small boy (limestone), Athens N.M. 983, and the surrounding area was cut back to produce a very from Thebes: drawing of facade, Conze, p. 24; Del- shallow relief. Normal claw chisel marks appear on the tion 24 (1969) pi. 127a. I am very grateful to Burton Fredericksen and Jin Frel, curators of the Anthesteria (Leiden, 1951). J. Paul Getty Museum, for permission to study and publish this stele, 1) See A. H. Smith, "Lord Elgin and His Collection," JHS 36 (1916) for photographs, and for their continued generosity and hospitality 163ff.; I.Gennadios, '0 AO'Q<JO<; "EAyiv (Athens, 1930); W. St. Clair, which has enabled me to use the museum facilities. I am particularly Lord Elgin and the Marbles (London, 1962). indebted to J. Frel for consenting to publish his revised list of the sculp- 2) J. Paul Getty Museum 1-72, purchased from Spink, London, Novem- ture which he attributes to the Myttion Sculptor and to other artisans ber, 1952. Previous bibliography: A. Michaelis, JHS 5 (1884) 148f., 2 of the workshop with which the Myttion Sculptor was associated. To No. 6; CIA II 4000; Conze 819, 156; IG II 12220; G. Richter, Ronald and Connie Stroud, and to D. A. Amyx, I owe thanks for assis- Sculpture and Sculptors of the Greeks (3rd ed., New Haven, 1950) 91, tance during the writing of the preliminary manuscript three years ago, fig. 258; C. C. Vermeule, AJA 59 (1955) 132; J. Paul Getty with E. Le and to Stella Grobel Miller and Sally Roberts for having offered useful Vane, Collector's Choice (London, 1955) 202, pi. before p. 193; SSA 77; comment. M. del Chiaro, Greek Art in Private Collections in California (2nd ed., Santa Barbara, 1966) 17; G. Richter, op. cit. (4th ed., New Haven, ABBREVIATIONS 1970) 60, fig. 272. Bliimel: C. Blttmel, Katalog der griechischen Skulpturen des 5. und 3) E.g., Conze, nos. 821ff. For burials of children with birds: AM 4. Jahrhunderts (Berlin, 1928); Conze: A. Conze, Die attischen (1893) 175. Grabreliefs (Berlin, 1893); Deubner, Att. Feste: L. Deubner, Attische 4) Pollux, Onomastikon 4, 140. For a possible representation of such Feste (Keller, Berlin, 1932); Helbig: K. Helbig, Fuhrer durch die a mask: L. Talcott, Hesperia (1939) 267-273, figs. 1 and 2. bffentlichen Sammlungen klassischer Altertumer in Rom (3rd rev. ed., 5) Letter, October 26, 1968, to the J. Paul Getty Museum. Literally, 1912); Lullies-Hirmer: R. Lullies and M. Hirmer, Greek Sculpture "Myttion" should mean "little, damp girl." The spelling, of course, (New York, 1957); Picard, Manuel: C. Picard, Manuel d'archeologie is Attic. grecque. La Sculpture I-IV (Paris, 1935-54); Reinach, RR: S. Reinach, 6) The interpretation is discussed fully by A. Kaloyeropoulou in her Repertoire de reliefs grecs et romains (Paris, 1909-1912); SAA: J. Frel, publication of a stele in Athens (second ephoria) on which such a Les sculpteurs attiques anonymes, 430-300 (Prague, 1969); Schefold, piece of rolled fabric is held by a small servant: Deltion 24 (1969) Untersuch.: K. Schefold, Untersuchungen zu den Kertscher Vasen 222ff., pll. 118-121. (Berlin and Leipzig, 1934); van Hoorn: G. van Hoorn, Choes and 7) I am indebted to J. Frel for these parallels. 7 1 Stele of Myttion. J. Paul Getty Museum 1-72, on loan from J. Paul Getty. 2 Detail 1of left side of pediment 8 6 5. [Diphil]os Philionos (fragment), Brno, private collec- worn loose on the backs of figures on the Alexander 8 tion: Listy Filol. 71 (1947) 2, pi. 4; SAA 356, 48. (For sarcophagus and with that of the Medea in the so-called this fragment the rolled fabric is roughly schematized.) Peliades reliefs,13 which H. Thompson has identified as copies of one of the sculptured slabs from the Altar of 14 A painted, rolled tainia appears on a stele in Munich Pity in the Athenian Agora. To the sculptured Medea on which a loutrophoros is also painted: Jdl 24 (1909) pi. should be added an Andromeda on an Attic kalyx crater 9 15 9; C. Picard, Manuel 4, 2 (Paris, 1963) 1440, 551. Two in Berlin, who likewise wears an upright tiara and a rolled tainiai are symmetrically arranged at the foot of kandys draped over her shoulders with the sleeves dan- the loutrophoros; another is suspended near the neck gling empty at her sides. So, too, probably, another of the vessel. Andromeda on an Attic white-ground kalyx crater in The workmanship of the stele is unpretentious. The Agrigento,16 and possibly still others found in Apulian pediment protrudes in a simple, angular step over the red-figure, before the garment vanishes, becoming, per- panel, marking the original thickness of the marble haps, an anomalous cloak.17 slab and the maximum height of the relief. The model- The best parallel for Myttion and her coat has always ling of the figure is rather simplistic, suggesting that been the Medea of the Attic volute crater which is the such details as hair and the figured fabric of clothing namepiece of the Talos Painter.18 Although her upright may have been painted.
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