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Athene and Enceladus: a Bronze in the Museo Kircheriano
Published online by Cambridge University Press: 23 December 2013
Extract
Upon the discovery of any great monument of ancient art, a series of objects of minor importance which had hitherto been awaiting identification are immediately seen to connect themselves more or less closely with the newly discovered work. Whence it comes that the course of historical development of ancient art is continually being exhibited with a nearer approach to completeness. The present article is an attempt to add another minor work to the list of statues and reliefs which group themselves round the frieze of the Great Altar of Pergamon.
The plate represents a somewhat mutilated work, No. 679 in the gallery of bronzes in the Museo Kircheriano at Rome. The subject is Athene engaged in no uncertain combat with her constant antagonist the giant Enceladus. The goddess has drawn back a little from herenemy: and whilst herself protected by the shield with its gorgoneion which she carries on her left arm, she is on the point of delivering the final thrust with the weapon she holds in her right hand. Enceladus, on his part, is at the same time recoiling somewhat from Athene, and collecting all his force for a blow.
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References
page 91 note 1 Journal of Hellenic Studies, vol. iii., p. 301, vol. iv. For a discussion of the Athene group in particular, vol. iii. p. 333, ff. For an illustration of the group see the Plate facing vol. iii. p. 331. For an especially admirable illustration, see O. Rayet, Monuments de l' Art Antique, pt. iv, pl. v.
page 91 note 2 Tassie-Raspe, 1753, Pl. xxvi.
page 91 note 3 Cf. the giant from the Offering of Attalos at Naples. Overbeck, Gr. Plast, ii., fig. 124.
page 91 note 4 Cf. Vatican Sarcophagos. Overbeck, , Kunstmyth. Atlas v. 9Google Scholar.
page 92 note 1 Compare the drapery of the Fallen Amazon at Naples from the Offering of Attalos. It is more finely and carefully worked, but has the same nebulée outline.
page 92 note 2 Compare with the bronze the winged and snake-footed giant on the reliefs of Priene, . Antiquities of Ionia, pt. iv., p. 33, pl. xix.Google Scholar Overbeck, Gr. Plast, ii. fig. 116e.
page 93 note 1 Amongst the numerous representations of this subject, compare for the sake of example:—
Metopes of the later temples at Selinus. Serradifalco, Antichità di Sicilia, II. xxix, and xxxi. Overbeck, Gr. Plast. i. fig. 30.
Gerhard, Aus. Vas. i. Pl vi. = Durand Cat., 28.
De Witte, , Durand Cat., 29, 30, 31, 32Google Scholar.
Heydemann, , Vasensammlungen zu Neapel, 2427, 2728, R. C. 132, 189, 216Google Scholar.
Overbeck, , Kunstmyth. i. p. 346 ff Atlas, iv. v.Google Scholar
page 94 note 1 Petersen, , Fleckeisens Jahrb. Philol. 1881, p. 486Google Scholar.
Overbeck, , Gr. Plast, ii. p. 347Google Scholar.
Farnell, , J. H. S. iii. p. 333Google Scholar.
page 94 note 2 Schneider, , Die Geburt der Athena, Wien, 1880Google Scholar. Benndorf, Vorlegeblätter, Serie viii. xi.
page 94 note 3 Compte Rendu, de la Comm. Imp. Arch. 1872. Atlas, taf. ii. J. H. S. iii. p. 245.
Even if the figure of Athene be immediately derived from the group on the Acropolis (Paus. I. xxiv. 3), (so Mr.Gardner, E. A., J.R.S. iii. p. 251)Google Scholar, yet that group may very well have borrowed its chief figure from the pediment.
page 94 note 4 Wieseler, , Denkmäler, ii. p. 303Google Scholar. Stephani, , Compte Rendu, 1872, p. 85Google Scholar.
page 94 note 5 Schöne, Griech. Reliefs, xxii. No. 95.
page 94 note 6 Michaelis, , Parthenon, taf. viii. 13Google Scholar.
page 94 note 7 The two reliefs on the handles of the Ruvo Amphora (Monumenti dell. Inst. Arch. v. 12. Overbeck, , Kunstmyth. Atlas, v. 7)Google Scholar, might be copied from two parallel works, i.e. the frieze, and the original of the bronze. Compare the series of instances collected by Heydemann, in which these two types of Athene Gigantomachos are represented, side by side. Erstes Hall. Winckelmannsprog., p. 11.
The Townley paste (Tassie-Easpe, 1753), may also he derived from the original of the bronze.