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X. Observations on the Figures of Anacreon and His Dog, As Represented Upon Some Greek Fictile Vases in the British Museum

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X. Observations on the Figures of Anacreon and His Dog, As Represented Upon Some Greek Fictile Vases in the British Museum 257 X. Observations on the Figures of Anacreon and his Dog, as represented upon some Greek Fictile Vases in the British Museum. By SAMUEL BIRCH, Esq., F.S.A., Assistant Keeper of the Antiquities in the British Museum. Read 12 December, 1844. THE various fictile Grseco-Italian vases found northward of Rome, as well as those of Southern Italy, are decorated with subjects, the interest of which is chiefly mythological. v If the legends of the Iliad, the traditions of the Poets of the Epic Cycle, and the narratives of the return of the Greeks from the Siege of Troy, be placed without the pale of history, there are but few vases representing subjects which can be considered historical. The high importance which attaches to historical subjects, found on any class of monuments, is still further enhanced in respect to these objects, by the consideration that they were neither restricted by the hieratical character of the temples, nor by the political conventionalities of the currency, but were, with few exceptions, employed for the enjoyment of private life. Commencing with the earliest archaic ware, called Phoenician, and descending to the vases of Basilicata, when the fictile system seems to become extinct, a period is traversed which witnessed the rise, progress, and declension of Greek fictile art; and at distinct epochs, during which the Greek mind must have been powerfully influenced by the Iliad, the Epic Cycle, the Traditions of the Return of the Greeks from Troy, and the Dramatists of the Attic School. The few vases representing historical subjects may be regarded as fixed points in the history of art, as having been executed at a time when the personages represented must have been in the meridian of their fame. They point to the Ionian traditions of Asia Minor. Thus the vase of the maker VOL. xxxi. 2 L 258 Observations on the Figures of Anacreon and Ms Dog, Taleides", of the style called Phenician, represents Arcesilaus III. of the Cyrenian Battiadse, who entertained friendly relations with the Ionians of Samosb, and who flourished B.C. 530. The celebrated amphora with Croesus0 seated on the funeral pyre, is evidently connected with the history of the same race, whilst representations are also found of Alcseus, Sappho*1, and Anacreon, who flourished about the same time, and were the brightest ornaments of the Ionian school of Lyric poetry. There are four vases in the collections of the British Museum, the subjects of Which I consider relate to Anacreon. 1. A tazza or cylixe of pure Greek style, with red figures on a black ground, formerly in the Durand Collection, and found at Vulci. The poet baldj bearded, and crowned with ivy (Kia-a-ocrTe^s), stands holding a seven-stringed lyre (|3ap3«Toy) in his left hand, which he sounds with the plectrum held in his right hand. His name, ANAKPEON, is written in a vertical direction before him. Two youths, both crowned with myrtle, advance towards him; the first has his drapery thrown loosely across his shoulders, the garment of the second is closely wrapped round him. In the area is the name of the possessor . NT*ES KAAOS. 2. Another cylixf from the same locality, and acquired from the same collection, represents in its interior a similar figure reclining on a cushion crowned with ivy, and playing on a lyre with the plectrum, which is attached to it by a cord. 3. An amphora with twisted handles/ of the same style, formerly in the possession of Cardinal Fesch, and subsequently acquired from the Princess of Canino (for the acquisition of whose rich suite of ] 00 vases the public is a Now in the Bibliotheque du Roi. See De Witte, Dur. Cat. p. 158. no. 160. Mon. de 1 Inst. Arch. PL XLV1I. M. le Due de Luynes, Annales, v. 56. Micali, Storia degli Ant. Pop. XCVII. 1. Cf. Vase, Inghir Vasi. Fittil. II. Tav. ciij. b Herodot. IV. 162. This Vase, in fact, may be considered to represent Arcesilaus restored by the Samians. c Now in the Louvre. De Witte, Dur. Cat. p. 157. no. 421. Mon. de l'lnst. Arch. pi. liv. lv. Due de Luynes, Annal. v. 237. d Millingen, Anc. Unedit. Mon. pi. xxxiii. p. 81—85. e Described Dur. Cat. De Witte, p. 162, no. 428. Raoul Rochette, Peint. Ant. Ined. p. 438. f De Witte, Cat. Dur. no. 341. B Canino, Cat. no. c. *1671. Cf. also Nolan, Amphora Hamilton Coll. 275, a man walking with lyre slung on a stick playing on double flute, before a dog. Rev. Youth offering a cylix. •s •* * upon some Greek Fictile Phases in the British Museum. 259 indebted to the Marquess of Northampton), represents the poet as an old, bald, and bearded man, whose head is bound with myrtle, with an orna- mented garment flung loosely over both shoulders. He plays on a seven- stringed lyre, and is followed by a little dog. On the reverse a naked youth crowned with ivy, with similar drapery, advances towards him : one hand is placed against his side, the other holds an amphora across his left shoulder. See Plate IV. 4. Another vase of the same shape,11 from the same collection, represents the same poet with drapery somewhat disordered, holding his lyre and a walking-stick, while a youth offers him a cylix and a similar stick. Anacreon, whose fame filled the shores of the Ionian Sea, the continent of Greece, and the colonies of Italy, is universally mentioned as the sage1 or the bardk of Teos, from his birth-place. According to the generally received account, he was the son of Scythinus,k although, according to others, of Eumelus, Parthenius, or Aristocritus1 and Heetia.m He rose to eminence in the commencement of the reign of Cyrus,11 and resided in Teos till the attack made by Harpagus upon the Ionian confederation, and the capture of his birth-place by the Persians, compelled him to fly with his countrymen to Abdera in the Thracian Chersonese.0 From hence he passed to the court h Cat. No. *1429. 1 For life of Anacreon, Cf. Herod. III. 121. Hor. I. od. xviii. 18. et sq. Epod. xiv. 9. sq. Ovid, Trist. 263. A. A. iii. 329. et sq. Rem. Am. v. 759. Strabo, xiv. p. 644. ed. Casaub. 953. Maxim. Tyr. dissert. 10. Pollux, III. 18. Apul. florid. 351. Apolog. 278. Athen. xiii. 8. ed. Casaub. 600. Aelian, V. H. viii. 2. ix. 4. Clemens, Strom. 308. Synesius, I. ss. Julian epist. Eugen. Dio. Chrysost. 31. de regno, 9. 31. Sallust in Porphyrione ad Horat. I. od. xvii. Suidas, voce Anacreon. Ed. Gaisf. Anacreon a Barnes, 12mo. 1734. Prolegomena, a Fischer, Lips. 1793. a Bergk. 8vo. Berl. 1834. k Suidas, loc. cit. Visconti, Iconographie Grecque, torn. i. p. 74, mentions a fragment of a headless Hermaic stele, found at Tivoli, inscribed 'Avaic[pewj'] 2icu9[<Vou] T?jii[os]. Possibly he was son of the Iambic poet, Scythinus. Cf. Steph. Byz. voce Trjws. Diogen. Laert. in Heracl. Athenaeus, p. 461. Schol. in Platon. a Bekker, 8vo. Lond. 1824, p. 4. 235. 1 Suidas, loc. cit. m Cf. HpweXeyetov, cited by Barnes, Prolegomena, iv. n Suidas, loc. cit. Clinton, Fasti Hellenici, p. 22, 11. Barnes places his birth, Olymp. lv. Cramer in Diatribe xix. his death between 01. lvij. lix. 0 Herod. Clio, 160. Strab. xiii. 644. 260 Observations on the Figures of Anacreon and his Dog, of Polycrates,p the tyrant of Samos, the master of the seas,q the patron of literature and art/ and the voluptuary of the Isles.p Agreeably to the taste of the age, his time was occupied in celebrating in Ionic odes the hair of Smerdies, the eyes of Cleobulus, the beauty of the celebrated Bathyllus, and the praises of Polycrates.'' Here he appeared in the character both of the minister of the pleasures and of the councils of the Samian ruler.r Just before the fall of Polycrates, Hipparchus, the tyrant of Athens, despatched a galley of fifty oars to bring him to his court,8 which rivalled that of Asia, by the honour in which it held, and the liberality with which it treated men of letters. The poet here passed his time in writing panegyrics on the Peisistradidse * and Critias, in composing poems, few of which have reached us, and in satirizing his more fortunate rivals." Anacreon died, according to his successors, at Abdera, in the 85th year of his age ;x according to one account, choked by a grape-stone.y Hermesianax2 in his poetic cycle makes Anacreon the contemporary and lover of Sappho, which is denied by Athenseus, on the authority of Chame- lseon, the biographer of the poet.a It is, however, possible that they may P Herod, iii. 121. Paus. Att. i. s. 2. t. 1. p. 4. Aelian, ix. 4. i Ibid, and Clitus the peripatetic in Athen. xii. c. 19, 540. r Thus the herald of Oroetes found Polycrates /caraKelfievov kv avbpeStvi, irapeivai be ol KCII 'AvaKpeovra TOV Trfiov, and the subsequent inattention of the tyrant seems to prove that he was minister of the pleasures. Her. loc. cit. 8 Socrates apud Platon in Hipparcho. Tzetzes, Chil. viii. 830. * Socrat. loc. cit. Pseud. Anacr. cited by Barnes, Proleg. li. u Cf. fragm. apud Athen. xiii. ed. Casaub. 845. Anacreon a Fischer, p. 357. et a Bergk. fr. xix. p. 110. x Lucian de Macrob. i Val. Max. ix. s. 5. c. 8. z Apud Athen. xiii. 598. Aeajiws 'A\ieaios be iroaovs ayebe^azo KWfiovs j.i$wv ifiepoevra noOov s.
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