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160. 20.187 PELIKE PLATE XCVI, 1-3

Height 0.2545, diameter 0.179, with the handles 0.181. From the Hamilton and Hope collections. A, Tischbein 4 pl. 21, whence El. 1 pl. 94 (whence Roscher s.v. Nike p. 1326 and Studniczka Die Siegesgöttin fig. 45) and Inghirami pl. 164: A, MFA. Bull. 18 p. 23 (Caskey); A, Tillyard pl. 14, whence (redrawn) Janssen Het antieke Tropaion p. 63; the shape, Caskey G. p. 90. A, Nike erecting a trophy; B, youth. About 450-440 B.C., by the Trophy Painter, his name-piece (VA. p. 161; Att. V. p. 365 no. 2; ARV.1 p. 718 no. 2; ARV.2 p. 857 no. 2).

On the front of the vase, Nike is preparing a trophy. The tree-stump has already been dressed with a chitoniskos, a leather corslet, and a Corinthian helmet; a sword has been slung round the corslet, and the spear has been temporarily fixed, one is not shown how, with point downward; the shield, charged with an eye, still leans against the trunk. The rectangles to right of the shoulder-piece must be the cross-piece of the stump. Nike is boring a hole in the stump, with an auger or the like, preparatory to fastening the helmet on with a nail. She wears a peplos with a long apoptygma, overgirt. The skirt clings rather close to the legs, with a 'hobble' look, as if it were tucked into the girdle, on the off side, against flapping during the work. Many of the folds were drawn in thin brown lines before the relief-lines were applied. The coverts have brown details, and the helmet is scumbled with brown. The contours are in relief-lines. Red or white for the cord passing thrice round the hair.

On the back of the vase, a youth in a himation, with a stick, watches the scene. No relief-contours. The edge of the himation is brown. Red or white for the thin head-fillet.

Under each handle there is a small palmette, point downward, without any relief-lines.

The handles are ridged. The foot is a near-torus, narrowing slightly downwards. There is no base-fillet. The shape is much as in the small pelikai by the Achilles Painter, the Dwarf Painter (for instance, above, i, no. 59), the Phiale Painter (for instance, above, i, no. 63). The pattern-work, and the small palmette under each handle, are the same as there. The patterns are in the Achillean tradition, which continues the tradition of the Berlin Painter: on the reverse, key-pattern; on the obverse, sets of maeander facing alternatively left and right, separated by pattern-squares which alternately join the lower and the upper bounding-line. The rather niggling style of the figure-work has nothing to do with any of those painters.

Of the other pelikai by the Trophy Painter, three have the same patterns and palmettes as ours; the fourth, Palermo 978, is different.1

On trophies see Woelcke in Bonner Jahrbücher 120 pp. 127-235. They are not common on vases. I give a list.

    Attic red-figure
    • Bonn 697.111, from Athens, fragment (of a calyx-krater?). CV. pl. 16, 7. A trophy seems to be represented, as Greifenhagen suggests, but details are puzzling and I am not sure that the date is so early as Greifenhagen says.
    • Boston, our pelike.
    • Bologna 325, bell-krater by the Polydektes Painter ARV.1 p. 665 no. 2; ARV.2 p. 1069 no. 2). Annali 1881 pll. F-G; Bollettino d'Arte 27 p. 497. A trophy, and a youth gazing at it.
    • Athens market, pelike. I hear of this from Bothmer.
    • Athens 1683 (CC. 1858), pelike, from Megara. AZ. 1865 pl. 199; A, Bonner Jahrbücher 120 p. 148. A bull and a ram are about to be sacrificed at a trophy, and Nike flies towards it to place a wreath on the helmet. The style is peculiar, and I doubt whether the vase is Attic.
    • Jena 386, cup-fragment by the Jena Painter (ARV.1 p. 880 no. 3; ARV.2 p. 1512 no. 21). Hahland pl. 23, c. Inside, Nike erecting a trophy. A cup-fragment in Toronto (Toronto 959.17.152: ex Curtius: phot. R.I. 37.217-18: ARV.2 p. 1512 no. 22) is by the same hand and the subject would seem to be the same.
    • London E 700, squat lekythos. Kekule Die Reliefs an der Balustrade der Athena Nike p. 8. Nike erecting a trophy.
    • Athens 1447 (CC. 1864), pelike, from Myrina. Group G (ARV.2 p. 1467 no. 107). A warrior and a youth at a trophy.
    • Salonica inv. 115, calyx-krater. Robinson Olynthus 5 pll. 68-70 and p. 97. Nike erecting a trophy. Shortly before 348 B.C.
    • New York 75.2.13 oinochoe of shape 3 (chous). Van Hoorn Choes fig. 59. Nike erecting a trophy. There are eight figures in all, including (besides Nike) Athena, Dionysos, Herakles, perhaps Demeter and Kore, and possibly Hygieia; also a herm. These should make it possible to identify the victory commemorated. Unfortunately the preservation is very bad. Middle of the fourth century or not much later. Mentioned by van Hoorn Choes p. 157 no. 743, but the subject not recognized.
    Boeotian black-figure
    • Athens, fragment of a top, Cabeirion style, late fifth century. Bonner Jahrbücher 120 p. 149; Wolters and Bruns Das Kabirenheiligtum pl. 19, 7, with p. 123.
    Campanian red-figure
    • Paris, Cab. Méd. 1040. El. 1 pl. 95. Nike at trophy.
    Etruscan red-figure
    • Rome, Torlonia, pointed amphora. Bonner Jahrbücher 120 p.180, whence EVP. pl. 11, 8.
None of these representations of trophies are earlier than the middle of the fifth century; but when one sees, on a lekythos of about 480-460 B.C., Palermo 4, Nike running with a spear in one hand and a single greave in the other, one asks whether she may not have been thought of by the artist as about to deck a trophy.2

Metzger 1951, p. 361; Herbert 1964, p. 71; Metzger 1965, p. 117, note 6; EAA, VII, pp. 998-999, fig. 1130 (E. Paribeni); Follmann 1968, p. 32; Anderson 1970, pp. 4, 28, pl. 1; Antike Plastik, 10 (1970), pp. 59-60 (C. Isler-Kerényi); Para., p. 425, no. 2; H. -V. Herrmann, 1972, Olympia: Heiligtum und Wettkampfstätte, München, Hirmer Verlag, pp. 22-23 (fig. 4), 25; Brommer 1979a, pp. 55, 65, 85 (ref. to Lenormant and deWitte, 94), 171 (ref. to Overbeck, 21, 4), 194, 209; H. Philipp, 1981, Bronzeschmuck aus Olympia (Olympische Forschungen XIII), Berlin, De Gruyter, p. 160 (under no. 584); P. Ducrey, 1985, Guerre et guerriers dans la Grèce antique, Fribourg, Office du Livre S. A., pp. 272-274, ill. 181; Beazley Addenda 2, p. 298.

1 ARV.1 p. 718 nos. 1 and 3-5; the Palermo vase is no. 5 in ARV.1, in ARV.2 no. 5 on p. 857.

2 CV. pl. 25, 2 and 5: ARV.1 p. 208, Painter of Palermo 4, no. 1; ARV.2 p. 310 no. 1.

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