No CrossRef data available.
Article contents
Vase with representation of Herakles and Geras
Published online by Cambridge University Press: 23 December 2013
Extract
In the Catalogue of Vases in the British Museum a red-figured amphora is described in the following terms:—
Cat. 864.—Amphora. Height 1 ft. 
in., red figures on black ground, outlines in black, inner markings faintly traced in red.
“1. Herakles pursuing the robber Cacus: the hero is bearded, the lion's skin covers his head and hangs down his back behind: in his left hand he holds his club: he stretches out his right hand towards the robber, who flies, looking back and stretching out both his hands towards him: the beard and hair of Cacus are white and squalid, drapery is twisted round his loins, but the figure has been retouched in these places, as has also the figure of Herakles: between them [Ch]armides Kalos; 2. rev. a youthful beardless figure clad in a mantle which envelops his head and arms: he leans on his staff.”—H.
- Type
- Research Article
- Information
- Copyright
- Copyright © The Society for the Promotion of Hellenic Studies 1883
References
page 96 note 1 These were modern restorations which have since been cleaned away.
page 98 note 1 See Longpérier, in the Rev. Arch. 1851, p. 621–30Google Scholar, cf. Jahn, . Arch. Aufs. 1845, p. 80Google Scholar, and Panofka, Eigennamen mit καλός.
page 99 note 1 For these types see Gerhard, Ges. Akad. Abh. Taff. x., xii.
page 99 note 2 Especially the early Corinthian Aryballi, cf. Annali dell' Inst. 1866, Tav. Q., and see Murray, , Greek Sculpture, p. 61Google Scholar, and Luckenbach in the Jahrb. für cl. Phil. Suppl. band 11, p. 504.
page 100 note 1 Cf. Luckenbach, loc. cit., p. 564.
page 100 note 2 It may be that the original composition was in the round, in which case this conjecture becomes more probable. A sculptor would not feel the same difficulty in turning the back of his figure to the spectator which painters until quite a late period felt; cf. Engelmann in the Annali dell' Inst. 1879, p. 242.
page 101 note 1 Cf. Daremberg, Dict. des Ant. s.v. and Preller, , Röm. Myth. p. 432Google Scholar.
page 101 note 2 Cf. Mimnermus fr. 5 (‘wretched and hideous, old age hateful and dishonoured, which changes the fashion of a man's countenance, injuring his sight and clouding his mind’).
page 102 note 1 See the admirable translation of this chorus in Mahaffy, , Social life in Greece, p. 235Google Scholar, and cf. Mahaffy on this subject.
page 102 note 2 
X. 4.
page 103 note 1 See Cic. de Nat. D. III. 17.
page 103 note 2 Pauly, Real-Encyclop. s.v.
page 104 note 1 Cf. Od. δ, 384, 
page 104 note 2 Cf. Paus. VI. xxv. 2, 
page 104 note 3 Cf. also Pind. Isthm. V. (VI.) 1. 14, 
page 104 note 4 See Arch. Zeit. 1859, p. 102*, Nos. 26, 28, 61, 204, and Furtwängler, , Bronzef. zu Olymp. p. 96Google Scholar.
page 105 note 1 I have tried in vain to discover where this vase has gone since the death of Sig. Doria, in whose possession it was when Löschcke saw it.
page 105 note 2 Abhandl d. K. Akad. d. W. 1879, p. 14.
page 105 note 3 Besides which, the similar scene with a sea deity occurs in the adjoining relief.
page 105 note 4 Abhandl. 1879, p. 94.
page 106 note 1 (η) (?). In the Annali, 1873, Tav. F., a red-figured vase is published with, on one side, Iphikles learning the lyre from Linos; on the other, Herakles, behind whom stands an old man, wrinkled and squalid; beside this latter figure is inscribed 
the inscription, as well as the type, would seem to suit some form of the personification of Geras.
page 106 note 2 See e.g. vase in B. M. Catal. No. 716, Herakles seizes white-haired figure who holds a sceptre and fish and is closely draped; and Gerhard, Verzeichniss der V., 1753, ‘Herakles hält den Bogen gespannt gegen Poseidon (Fisch und Dreizack) der…ruhig zuschaut.’ In Annali, 1878, Tav. E. is published a vase picture which may perhaps be assigned to this group: Herakles, amidst a number of upset vases, attacks with a trident an aged figure who supplicates him.
page 107 note 1 The single-headed Cerberus is evidence in favour of this.
page 107 note 2 He is sometimes in antagonism with other deities: see Jahn, , Arch. Aufs. p. 52Google Scholar.
page 107 note 3 Cf. Maury, , Hist. des Rel. iii. 436Google Scholar.
page 108 note 1 Cf. Robert, , Thanatos, p. 32, etc.Google Scholar, and see Böckh, C. I. 1067, 
and see Bull. de Corr. Hell. 1883, p. 403.
page 108 note 2 See on this question Arch. Zeit. 1859, p. 34, Brunn, , Gr. Künstl. I. p. 16Google Scholar; and the contest of Herakles and Apollo for a stag in Annali d. Inst. 1880, p. 216.
page 108 note 3 Cf. Milchhöfer, , Anfänge der Kunst, p. 235Google Scholar.
page 109 note 1 See Hartung, , Rel. der Gr. ii. 221, 223Google Scholar: but cf. Welcker, , Gr. Gött. i. 424Google Scholar.
page 109 note 2 See Il. Ψ 623, where Achilles gives him a prize, though he had not contended in the games
page 109 note 3 Cf. Lückenbach loc. cit. p. 504.
page 109 note 4 Pausanias (3, 17, 3) says that Gittiades represented this scene in the Temple of Athene Chalkioikos at Sparta.
page 109 note 5 This point has been argued in Milchhöfer's, Anfänge der Kunst, p. 196Google Scholar.
page 110 note 1 Cf. Kekule, , Hebe, p. 9Google Scholar, etc. There is a passage in Lucian (LV. Ἡρακλῆς, 1) which is a curious comment upon our vase: the author there describes a Keltic divinity who is called Ὄγμιος, but who is a strange mixture of the Greek type of Herakles with that of a personification of Old Age: 
This strange figure leads by the ears a great company of people, by golden chains which issue from his mouth. The explanation given is this: the Kelts attribute the power of eloquence, logos, not to Hermes, but to Herakles; and since 
it is natural that this type of Herakles should include a conception of Geras as well. See Longpérier, in the Rev. Arch. 1849–1850, p. 388Google Scholar, for the derivation of Ὄγμιος as a Keltic word: but I should almost be tempted to look upon it as a Greek form connected with the 
of Archil. 91.