Page images
PDF
EPUB

Visconti, so eminent in many branches of archæology, had not paid sufficient attention to Greek vases, when he supposed that this composition related to Hercules, Dejanira, and Theodamas. (P. 39.) A remarkable vase found near Athens, and probably a production of the celebrated potteries of that city, is the only monument yet discovered, that offers a representation of the Harpies. (Plate xv.) Its subject is the story of Phineus, who,

Having incurred the anger of the gods, was deprived of sight, and condemned to suffer the horrors of continual famine. To this effect, the Harpies were sent to hover round him, and to seize all the food that was offered to him. According to the decrees of Fate, the Argonauts alone could deliver him from this punishment. In consequence, on their arrival at Salmydessus, Phineus went immediately to meet them, and implore their assistance. They were touched with his sufferings, and the sons of Boreas, Zetes, and Calais, who had wings like their father, attacked and drove away the Harpies. (P. 40.)

In this painting, the Harpies appear as three young women with wings; the two Boreada as young men, also winged; and Phineus sits near a table covered with provisions.

Plate xvi. represents a beautiful composition from a vase of Mr. Hope's collection; and resembling one published by Tischbein (Tome 111. Plate i.), but without some parts, the omission of which renders the subject perfectly unintelligible :—

The fable of the rape of Proserpine by Pluto, is so generally known, (says Mr. Millingen) that it is needless to relate the particulars. It forms a subject extremely common of works of art, especially of Sarcophagi, being particularly appropriate to funereal monuments, from its obvious allusion to the fate of persons who were carried away by an untimely and premature death. It occurs likewise on a great number of coins and gems. All the monuments hitherto known, represent Pluto in a chariot drawn by four horses, and carrying away Proserpine in a violent manner. The composition before us offers a different scene relating to the same story. Pluto, by the interference of Jupiter, has been reconciled with Ceres, who has consented to his marriage with her daughter. After the celebration of the nuptials in the presence of the gods assembled on Olympus, Pluto is returning with his bride to the infernal regions. They are mounted on a chariot drawn by four horses, who are at the instant of starting at full speed. Proserpine offers no longer any resistance; the charms of empire and the splendor of a throne, have reconciled her to her destiny. Ceres is standing near the chariot, and grieved at the departure of her daughter, is taking leave of her. Proserpine extends her arms towards her mother, whom she endeavors to console. would be difficult to determine who is the female figure preceding the car, and holding a torch in each hand, if the Homeric hymn to Ceres did not inform us, that it is Hecate, the faithful companion of Proserpine. This hymn, which was discovered at Moscow in 1784, illustrates, in fact, in a peculiar way, the whole composition. (P. 45.)

It

Though ascribed to Homer, the hymn must be regarded of a later date, as our author mentions in one of the numerous and excellent notes with which his work is enriched.

A vase preserved in the British Museum furnishes the subject of Plate xvii. According to the celebrated antiquary Visconti (Museo Pio Clem. Tom. 1v. Tav. A.) it represents Phrixus and Helle, receiving from Mercury the ram with a golden fleece, which was to convey them to Colchis, and save them from the persecutions of their step-mother Ino. But the high authority of Visconti has not deterred Mr. Millingen from offering a different interpretation of this painting, which, indeed, he proves, (at least in a manner that satisfies us) to represent a well-known scene on Mount Ida; Venus soliciting the suffrage of Paris, and promising him, as a reward, the beautiful Helen. A female figure with a long sceptre is Venus; Paris, who appears sitting, is indicated by his dog, a ram, and the javelin with which shepherds formerly guarded their flocks from wild beasts, that abounded on Mount Ida. Respecting a female sitting in the back ground, some uncertainty may exist, but we agree with Mr. M. in supposing it to be Helen, introduced in the picture by anticipation, to show the result and completion of the story:

A similar license was frequently assumed, of uniting in the same composition various scenes or points of time relating to the action representeď. (P. 48.)

Here a note informs us, that

On the chlamys given by Minerva to Jason, where the race between Pelops and Enomaus was represented in embroidery, Hippodamia was in the same chariot as Pelops (Apollon. Rhod. lib. i. v. 754); not that it was really the case, adds the scholiast on this passage, but that the artist wished to indicate by anticipation, both the race and the prize. Many instances of this sort of license may be found in the descriptions of Pausarias, and in ancient monuments.

Plate xviii. from a vase belonging to Mrs. T. Butt, represents a hunting-party, of which we cannot find any account in ancient writers, although it was composed of such illustrious personages as Actæon, Theseus, Tydeus, and Castor, who had been instructed in huntsmanship by the centaur Chiron, patron of the chase. Over the head of each hero his name is written. From a vase in the British Museum, Plate xix. offers a group, which probably formed part of a more extensive composition. An Amazon precedes and guides a warrior, pressing forward with hasty steps. This warrior Mr. M. is inclined to regard as Theseus, whom Antiope introduces into the city of

Themiscyra. An inscription in the field, KA40Σ KAAⱭIGËZ, presents, as usual, the name of him to whom the vase was given. Five Plates (xx-xxiv.) relate to one of the most magnificent vases hitherto discovered; once preserved in the Vatican, now in the Royal Museum of the Louvre, at Paris: it was published most inaccurately by Dempster, in the Etruria Regalis, and afterwards by D'Hancarville, but without any explanation. The entire circumference is occupied by two compositions, which, from their contiguity, may be supposed relating to the same story. One represents two young warriors, probably Achilles and Patroclus, taking leave of their parents, Peleus and Mencetius, previously to their expedition against Troy. In another part of the picture we behold the chief personage, perhaps Achilles, victorious over his antagonist, whom there is reason to suppose Telephus. The neck of this vase is ornamented with a hunting scene on one side, and on the other with a figure of Triptolemus, in a winged car, to which two serpents are barnessed-near him are two females, each carrying a torch, probably Hecate and Proserpine.—

The two principal paintings distinguished by great beauty, both of invention and execution, are deserving of peculiar attention and interest. They recal to the imagination scenes truly classical, and convey a just notion of the armour, dress, and various customs prevalent at the time when they were executed; which probably, was not long after the close of the Peloponnesian war; a brilliant period of Grecian glory. (P. 60.)

Whilst engaged in this brief and hasty account of Mr. Millingen's valuable work, we have noticed among the curious archæological remarks scattered throughout its pages, some that would furnish us with very interesting subjects of discussion, but requiring from their nature, frequent reference to the plates, and a much greater extent than the limits of our Journal would allow. We therefore close this article, however inadequate to the merits of our learned author; and hope that he will soon enable us to gratify our classical and antiquarian readers, by announcing the second portion of his "Unedited Monuments.'

NOTICE OF

An Inquiry concerning the Site of Ancient Palibothra, by LIEUTENANT-COLONEL WILLIAM FRANCKLIN, of the Hon. East India Company's Service, &c. Parts III. and IV. 4to. Lond. 1820, 1822.

IN the 34th Number of this Journal, (for June, 1818,) we briefly noticed the two first parts of Colonel Francklin's work, designed to prove that the modern district of Bhaugulpoor in India comprehends the site of ancient Palibothra ; an opinion confirmed by successive researches on the spot. Part III. contains an account of our author's journey through some tracts of the adjoining country, hitherto but little known; Part 1v., also, describes a tour from Bhaugulpoor to Mandar, and a circuit of the Curruckpoor hills. In the course of this expedition, (Jan. 1819.) Col. Francklin discovered the site of an ancient city, called Jynughur-a position, coinciding, he says,—

In a remarkable manner with the western extremity of the royal city of Palibothra, as assigned by the Purannas, which has been detailed in the former part of the essay. It will there be seen, that the extent of that royal city, from its eastern boundary, opposite the Cosi river, to its western termination near Sooruj Ghurra, gives a distance by perambulator of seventy six miles. (P. 34.)

At the ruined fort of Indra Pye, in a country abounding with spots, consecrated as places of worship among the sectaries called Jeynes, or Jainas, our ingenious traveller found a sculptured human figure, represented sitting, and on the pedestal which supports it, an inscription of three lines in ancient characters. Of this figure and inscription an engraving is given in a plate, which likewise exhibits a Jeyne coin, discovered at Sooruj Ghurra. In the appendix (No. 1.) Col. F. endeavours to reconcile with probability the account of Palibothra, and its immense extent, by an examination of the space assigned to various ancient and modern capitals; Thebes, Babylon, Nineveh, Palmyra, Carthage, Persepolis, Delhi, Kinnouj, Bisnagur, or Beejanuggur, Beejapore, &c. No. 2. contains a supposed conversation between Alexander the Great, and Dindamis, a Brachman philosopher; from the "Anonymous Collections, Lond. 1668," with the remarks of Palladius. These, as our author imagines, throw some light on the tenets of the modern Jeynes. An extract from the Herbuns Puran, is given

in No. 3, respecting an Indian prince and the fort of Jeynuggur; and No 4. contains,

An account of certain tribes inhabiting the Jungle Terry district, espe cially in the Curruckpoor hills; with their religious institutions, customs, and manners. Translated from the Persian.

Those tribes are supposed to be aboriginal, and differ in their appearance from the Indians of other places. The Kole tribe worship Ram Thakoor; no Hindoo will drink of water which any person of this tribe may have touched: they will eat with a Hindoo, but not with a Musulman. The Musahir tribe worship Rama Deota: this divinity is said to descend upon the head of their priest, who drinks the blood of hogs, goats, and fowls, offered in sacrifice; if a woman commit adultery with one of her own tribe, she is not punished; but if with a stranger, she is expelled from society. A widow may marry again. The Purghas worship Hurdyah: they burn their dead, and throw the ashes into the river. A woman guilty of adultery, even with one of her own tribe, is excommunicated. The Burswars worship Kalee, to whom they offer flowers, the leaves of a creeper called Pawn, fruits, rice, &c. The priest is clothed in white, and the deity is supposed to descend upon his head: this tribe eat all animals except the cow and bullock. However these inhabitants of the Jungle Terry district may differ in some slight respect among themselves, they all agree in one grand characteristic-a love of truth; and it is said that they would sooner die than wilfully utter a falsehood. The four parts of Colonel Francklin's work form a very handsome quarto volume, illustrated with maps and other engravings, and his researches concerning the ancient Παλιμβόθρα or Παλιβόθρα of Arrian and Strabo, and the river 'Eppavvoßóas evince the ingenuity and perseverance of our accomplished author, to whose former publications on various subjects we have already paid the due tribute of commendation. (See Classical Journal, No. 34, p. 322.)

« PreviousContinue »