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Nikè Sacrificing a Bull

Published online by Cambridge University Press:  23 December 2013

Cecil Smith
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Extract

The group of Nikè βουθυτοῦσα is one which is already so well known among works of ancient art, that in adducing further instances of this type we cannot hope to bring forward much that adds to our previous knowledge of the subject. It is, however, just one of those cases which, from the very frequency of its recurrence in ancient art, has a special claim upon our attention; a motive which, starting as it doubtless does, from a great Greek original, continues favourite down to late Roman times, is worthy of study in the phases of development which different material and different periods bring about, and therefore I think no apology is needed for introducing the fresh examples of it now before us.

The starting point, the Haupttypus so far as we know, of this motive, is of course the small fragment which remains to prove that it existed in the reliefs on the balustrade of the temple of Athena Nikè at Athens. In his admirable monograph on these sculptures, published in 1869, Kekulé contented himself with a brief description of this fragment, without being able to identify the original motive of the group from which it came, or its position on the frieze.

Type
Research Article
Information
The Journal of Hellenic Studies , Volume 7 , November 1886 , pp. 275 - 285
Copyright
Copyright © The Society for the Promotion of Hellenic Studies 1886

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References

page 275 note 1 Die Balustrade des Tempels der Athena Nikè in Athen. Leipzig, 1869.

page 275 note 2 Die Reliefs an der Balustrade des Tempels der Athena Nikè. Stuttgart, 1881.

page 276 note 1 Unfortunately the Plate before us gives only a general idea of the group, without at all expressing the delicacy and refinement of the original. This was no fault of the artist, who has done as much as was possible in very difficult circumstances. The patination of the metal, and the foreshortening employed, made photography almost useless, and upon a very imperfect negative the lines of the original had to be painted in, and were then reproduced by autotype process.

page 277 note 1 Ἑλληνικὰ κάτοπτρα, 1876.

page 281 note 1 Or, according to another interpretation, to Mikon. Knapp, argues (Nikè in der Vasenmalerei, Tübingen, 1876, p. 77)Google Scholar, that the passage of Tatian, is not applicable here, because of what follows, I cannot see that a group of Nikè βουθυτοῦσα need be considered so inappropriate an allusion to the Europa legend. The use of ἐπὶ would suggest an attitude astride of the victim, as on a leaden tessera (Bulletin de Corr. Hell. viii. Pl. vi. No. 223) Nikè bestrides a ram, and on electrum coins of Kyzikos a tunny-fish.

page 281 note 2 See Friederichs-Wolters, , Gipsabgüsse, p. 286, No. 773.Google Scholar The position of this group on the Balustrade was next to Athenè in the centre of the west side, and specially marked by the attitude of Athenè, who turned round towards it.

page 282 note 1 On a Berlin gem, Müllier, , Denkm. ii. 209Google Scholar, a statuette of Athenè occurs in a similar relation to this group.

page 282 note 2 For a general statement of the case, see Murray, , History of Sculpture, ii. pp. 179–180.Google Scholar

page 282 note 3 Numismatic Chronicle, 1885, Pl. 1, 9.

page 283 note 1 Though of course the Brescia Nikè is probably of the first century A.D., it is I believe generally agreed that as a type it must be an imitation of an earlier period; see Friederichs-Wolters, op. cit. p. 565.

page 284 note 1 They divide into four types, as follows: A type.—1. Group to right, one foot of bull free, knife at side; on right elaborate altar. 2. Similar, with blazing thymiaterion in place of altar, supported by female statuette. B.—1. Similar, without altar. 2, 3. Fragments of ditto. C.—1. Group to left, one foot of bull free; Nikè stabs the bull downwards in throat; on left, tripod with basket (?) on it. D.—1. Similar, without tripod. 2—4. Fragments of ditto.

page 285 note 1 See Knapp, Nikè in der Vasenmalerei, chap. 4.