Fairfield University DigitalCommons@Fairfield

Visual & Performing Arts Faculty Publications Visual & Performing Arts Department

4-2003

Iconographical Studies on Nike in 5th Century B.C.: Investigations of Her Functions and Nature by Cornelia Thöne

Katherine Schwab Fairfield University, [email protected]

Follow this and additional works at: https://digitalcommons.fairfield.edu/visualandperformingarts- facultypubs Originally appears in American Journal of Archaeology. Copyright 2003 Archaeological Institute of America.

Peer Reviewed

Repository Citation Schwab, Katherine, "Iconographical Studies on Nike in 5th Century B.C.: Investigations of Her Functions and Nature by Cornelia Thöne" (2003). Visual & Performing Arts Faculty Publications. 4. https://digitalcommons.fairfield.edu/visualandperformingarts-facultypubs/4 Published Citation Schwab, Katherine. 2003. Review of Iconographical Studies on Nike in 5th Century B.C.: Investigations of Her Functions and Nature, by Cornelia Thöne. AJA 107(2):310-311.

This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 310 BOOK REVIEWS [AJA 107

In fact, much of the focus of this book is on material chaic period to the end of the fifth century B.C., from a that, for typological or geographical reasons, often re- more restricted and formulaic representation to one with ceives limited attention in handbooks. Thus, Hellman's political dimensions. discussion of roofs includes, besides the better-known The book is organized into 10 chapters, with a thor- types, also those with lanterns, cones, and pyramids. She ough list of vase representations, of which only a limited draws her examples from a wide range of sites, including selection is illustrated. Her list is noteworthy for its com- the Cyclades, where she has worked extensively, but also prehensive nature and for going beyond what is illustrat- Thasos and even Thrace in the north, as well as western ed in LIMC6;it also includes some unpublished material. Greece. Numerous references and copious illustrations The quality of the plates is very high, yet one wishes that aid the reader in understanding these monuments and more examples could have been illustrated. the details discussed. Thone begins with a brief discussion of literary sourc- Although the broad scope of this book requires the es and Archaic representations, before turning to the author to rely heavily on the work of other researchers, transformation of Nike from a more conventional form she cites the latest sources and includes even unpub- in the knielaufpose of the sixth century to an increasing- lished articles and dissertations. This is particularly im- ly versatile and active figure shown in a greater variety of portant for areas where scholarship and knowledge have settings starting in the early decades of the fifth centu- increased markedly in recent years, as with arches and ry. With the advent of democracy in Athens, representa- vaults or roof-tiles. The specialist may miss the detailed tions of Nike assume a greater significance: a new em- tables offered by Martin and Orlandos, but this omission phasis is given to achieving one's potential abilities. Vic- is offset by a very readable text and a well designed lay- tory's presence can serve as a testament to that achieve- out. Anyone interested in Greek architecture will cer- ment, at the same time she can indirectly allude to one's tainly find this book useful. weaknesses- failure in attaining achievement. Since the fifth had placed Barbara A. Barletta early century, lyric poets Nike in association with contests or competitions, whether SCHOOLOF ART AND ART HISTORY for athletics, poetry, music or theater, but only rarely in a P.O. BOX II58OI military setting. Thone creates additional categories for UNIVERSITYOF FLORIDA her study of Nike, such as a sacred context, cult worship, GAINESVILLE,FLORIDA 326 1 1 mythological representations, participation in events with [email protected] Olympian divinities, and political victorymonuments, with these categories forming the subsequent chapters. Worth here is Thone's observation that it is Nike, Ikonographische Studien zu Nike im 5.Jahrhun- mentioning her who functions as a guarantor of eternal dert v. Chr.: Untersuchungen zur Wirkungs- by presence, glory within the sacred association. Also, in cult worship, weise und Wesenart, by Cornelia Thone. Nike is not worshipped by herself but in her linked rela- (Archaologie und Geschichte 9.) Pp. 162, pls. tionship to Athena, as with the Athena Nike cult on the Athenian In this latter context, to 12. Archaologie und Geschichte, Heidelberg Acropolis. according the author, Nike would serve to the and 1999. DM 90. ISBN 3-9804648-2-2 glorify ability (cloth). potentiality of Athens. An iconographical study of Nike in the fifth century In turning to Nike's connection with the political struc- B.C. is timely because of the abundance of material now ture of Athens, Thone observes a change from the first available for consideration, particularly in vase paint- to the second half of the fifth century. Relying on pre- ing. Previous publications devoted to the topic were served representations, Nike appears in a military milieu brought out mostly in the latter half of the 19th centu- only in the minor arts in the private sphere. In contrast, ry, while in the 20th century she has been treated with- the second half of the century can be characterized by in a larger discussion of cult personifications, as a lexi- more public art, particularlysuch sculptural monuments con entry, or within a broader time frame. Thone's study as the Nike by Paionios at Olympia. is most welcome for its specific focus on the fifth centu- From these investigations the author concludes that ry and for the author's thorough examination of the Nike's presence in representations signifies the poten- numerous representations known today, as well as her tial for successful accomplishment, not that she neces- proposed interpretation of Nike's significance by the sarily brings success by her presence. Furthermore, this second half of the century in Athens, when democracy personification of Victory functions as an active agent to was the political structure. effect victory in contexts associated with competitions. This monograph for the Archaologieund Geschichtese- Glory and honor can be bestowed on those who attain ries is a reworking of her 1992 dissertation at Ruprecht- their abilities, and in a similar vein, what applies to the Karls-UniversitatHeidelberg. Thone's main inquiry con- individual can apply equally to the society at large. cerns Nike's meaning in the fifth century, especially in In Thone's conclusion, she draws parallels between Athens, and how it is linked to the increased number of Nike and Eros- both winged figures share several traits. settings and themes in which Victory is portrayed. By The author makes a compelling observation that repre- turning to numerous representations on vases, Thone sentations of Eros also reflect a transition and develop- establishes typologies that highlight the different roles ment during the fifth century. In addition to the cited Nike played in Greece during the time under consider- oinochoe in Spina where the two winged figures appear ation. Through this method the author investigates the together by an altar, it may be worth noting here that transformation of Victory's personification from the Ar- both deities are introduced as integral forces in the gi- 2003] BOOK REVIEWS 311 gantomachyon the ParthenonEast metopes. In the lat- why of iconology, the author argues for a "cause-and- ter,Nike accompaniesAthena in East4 whileEros stands effect logic that governs the unfolding of the stories" next to Heraklesin East11. Amongthe 14 east metopes (1). He is adamantin claiminga "distantand indirect" these are the only two with a three-figurecomposition, (5) relationshipof visualand literarytraditions, and dis- and both are placedfourth from either end. This special missesstrongly the assumptionthat painters and viewers relationshipbetween Nike and Erosin such a prominent learnedstories from poetry. The elementsof a particular monumentwould seem to bearout Thone'sobservations, storywere not randomor individual(he speakslittle of which she based on other examples.Equally, the need the artists themselves), but function in an analeptic/ for a monograph-lengthstudy of Eroswould seem nowto proleptic interpretativeframework. Thus, trees, rocks, be a desirablecomplement to Thone's importantand altars,statues, and furnituresignify specific settings or thoroughinvestigation of Nike in the fifth centuryB.C. narratives,while alluding to otherswithin the Trojanrep- Thone convincinglydemonstrates the usefulness of ertoire.They function not only in storytellingand com- such a thoroughiconographical study of Nike, and her position,but also to link eventstemporally and spatially. generous footnotes will assist the reader in locating a The resultingcase studysets out to prove how a defin- wealthof materialrelated to the topic. Her carefulselec- able systemof iconographylends itself to explanationin tion of representationson vases (by catalogue and al- multiplelayers. most all the plates) makesone wish to see similartreat- The chaptersare organizedby stories or clustersof ment for representationsof Nike in sculptureand archi- stories, rather than by motifs. The best known themes tecturalsculpture. Nevertheless, her studyis a valuable are chosen as leaders:the Rapeof Kassandra,the Death achievement,and scholarswill continue to benefit from of Priam, the Game Table (of Ajax and Achilles), the this rich sourceof information. Ambushof Troilos,the Judgement of Paris.In turnthese are bound to the of Katherine A. Schwab episodes (e.g., Recovery Helen, the Death of Achilles),to particularsof setting (e.g., sanctu- DEPARTMENTOF VISUALAND PERFORMINGARTS aries of Zeus and Apollo), or to individualmotifs. The FAIRFIELDUNIVERSITY chapterheadings do not alwaysmake obvious exactly what FAIRFIELD,CONNECTICUT 06824 is to come. For example, in chapter 2, "The Death of [email protected] Priam,the Sanctuaryof Zeus,and the Buildingof Troy," there is a lengthy section entitled "tripods,palm trees, and altars."We learn that the of theseindividual Capturing Troy: The Narrative Functions of meaning motifschanges when shown solo, combined,or elsewhere. Landscape in Archaic and Classical Greek We are remindedof other places in the heart of Greece Art, by Guy Hedreen.Pp. vii + 297, pls. 50. Ann (Delosand Delphi)where these occur,and it is suggested that not havebeen the exotic we Arbor, of Press 2002. $57.50. Troymay setting thought University Michigan it was.A similar is attributedto the ISBN: 0-472-11163-9 importance gaming (cloth). table of Ajaxand Achilles.It is associatedwith another The TrojanWar was one of the mostpowerful subjects piece of furniture- the voting table on whichthe fate of for ancient Greekartists and poets. The Ilioupersiswas Achilles'armor was decided - andmay even be, according particularlypoignant in mergingthe horrorsof warwith to Hedreen, the very same table transportedfrom one the beautiesof visualand textualrepresentation. While storyto another,from one vase to another.The conclu- the popularityof the iconographyhas been well attested sion in this instancemight seem a little forced, and the andwell studied,the relationshipbetween Homeric epic use of archaeologicalevidence for supportmight have and the beginningsof narrativeart remainsunsettled. been expanded.The final chapter,"Setting, Character, The war,set in AsiaMinor, engaged Greek memory both and Action in theJudgement of Paris,"is an instanceof ancientand modern,both mythologicaland psychologi- savingboth the firstand the best for last. cal. Eventhe modern Greekpainter Theophilos depict- Hedreen'svisual evidence is drawnprimarily from vase ed the heroic dual of Achillesand Hectorwith the walls painting, mainlyAthenian, mainly red-figure. That be- of Troyas a theatricalbackdrop. In his 1930version the ing said, his inclusion of ancient textualsources is both militarygarb of the Greekand the Trojanis nearlyiden- useful and competent. However,when speakingabout tical, and the same yet again as the painterhimself was vaseswe hear little, if anything,about technique, style, known to sport on occasion in imitation of Alexander shape,or scale of individualobjects, and howany combi- the Great.Without the addition of the walls and the nationof these willhave influenced and dictateda paint- handyinscription along the painting'supper border it er's choices. Nor is there commenton attributedpaint- wouldbe impossibleto determinean exact ancient mo- ers and groups,or the amountof attentiongiven to Troy ment in the mind of the modern painter,and how this in their overall output. Vasesand other arts produced cocktailof text and imagemight further be construedas outside Athens, revealingboth Trojanand non-Trojan a commentaryon the present.In muchthe sameway, it is themes, are given minimalattention, if any at all. The text and image, narrativeand landscape,memory and Boeotianlekanis in the BritishMuseum (B 80), showing imaginationthat propel Hedreen'snew book. whatmight be a local festivalof Athena,seems relevant Froma basicscholarly perspective, this book is ground to the discussionof stridingAthena figures (on Panath- breaking.Hedreen combinestheoretical, art historical, enaicsand othervases) in relationto the storyof Kassan- andconventional classical approaches in his discussionof dra. It is highlyappropriate that the recentlydiscovered whatsome mightconsider a stalesubject. Quite the con- Gumu§caysarcophagus depicting the sacrificeof Polyxe- trary:moving beyond the what of iconographyand the na (fig. 37; StudiaTroica 6 [1996] 251-64), as well as a