Athena Marsyas group

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Athena Marsyas Group, Rome , Museo Gregoriano Profano

The Athena-Marsyas group is a group around 450 BC. A group of statues created by the Greek sculptor Myron from Eleutherai . The group was set up on the Athens Acropolis . It represented the goddess Athena and the satyr Marsyas , who is about to pick up the auloi invented by Athena but then thrown away in horror . Although the original bronze work has not been preserved, the most important features of the roughly life-size group with a height of around 1.50 meters could be reconstructed on the basis of individual finds of Roman marble copies - parts of both statues were never discovered in a find context.

Written tradition

In the 34th book of his natural history , Pliny the Elder deals with the history of metals and their use in art. In this context he names the most important artists who worked in bronze and lists their works. Among the notable artists of the 90th Olympiad , that is, the years around 420 BC. BC, he highlights Myron from Eleutherai because of his particularly realistic representation. In addition to other statues, this one "made a satyr who looked at the flutes and Athena with admiration". Pausanias, on the other hand, mentions a statue of Athena in his description of the Athens Acropolis, who beats Marsyas because he wanted to pick up the auloi that she had thrown away . In 1830, Karl Otfried Müller was the first to combine these two passages and took the view that they referred to one and the same pictorial work.

Myth and Auletics

Competition between Apollon and Marsyas, around 330 BC From Mantineia , Athens National Archaeological Museum MNA 216
Competition between Apollon and Marsyas, on the right edge the flay; Late 3rd century sarcophagus , Louvre-Lens

In Greek mythology , Athena was considered to be the inventor of the Auloi, with whom , according to the poet Pindar , she imitated the Gorgons' mourning after the beheading of their mortal sister Medusa and gave them to humans as a gift for this purpose. Even Apollo was so taken with the instrument that, according to the Greek poet Korinna, he learned to play aulos. But Athena, who saw her reflection in a lake while playing, threw the new instrument into the grass in horror because of the disfigurement of her face - since the aulos as a reed instrument requires a considerable amount of blowing force, it was often wrapped around the head with a bandage called Phorbeia played. The discarded instrument was found by a satyr who soon mastered the art of playing to such an extent that he challenged Apollo to a competition. As a result, it came to the flaying of the defeated in competition satyrs - another statuesque group object. In the work of Hyginus , Marsyas is the name of the satyr, and not only the reflection, but also the laughter of Juno and Aphrodite would have caused Athena to let the aulos play. Hyginus also writes that Athena cursed anyone who would play the instrument in the future.

Since the coming of the late 18th century core labor "Pallas Musica and Apollo Marsyas Killer" by Karl Böttiger it was tempting of the Persian Wars to insinuate following time an aversion to Aulosspiel, with an anti- Boeotian empting setting . The sound of the instrument was said to have been too reminiscent of the shawms of the Persian army and the Bootians fighting on their side. The proponents of this theory relied on the anecdote handed down by Plutarch that Alkibiades had refused to learn the game. However, this is countered by the speech of Alcibiades in Plato's symposium , in which he compares the verbal power of Socrates with the effect of the aulos music and Socrates directly with Marsyas. Nonetheless, Plato rejected “Aulosmacher and Aulosplayer” in the Politeia as useless. Aristotle followed him in this and referred directly to the reluctance of Athena, but saw the distortion of her face handed down in myth as too superficial for her reluctance and intellectualized the interpretation: Since one cannot blow and talk at the same time, the aulosplay of spiritual development is not beneficial. Aristotle is here entirely an educator, he does not mention Marsyas or any other mythical player in this context.

What all the traditions about the myth have in common is that Athena has long since left the scene when Marsyas appears. Therefore, there were suggestions to recognize the processing of a myth version that has not been handed down in the group, for example the dithyrambus Marsyas of the second half of the 5th century BC Active poet Melanippides , in which the poet - himself an innovator of the kithara game - made fun of the aulos game. And already with Melanippides the goddess threw the new instrument out of the divine hand as a nuisance of the body. According to an enkomion polemic against Melanippides from around 400 BC. The musical instrument was found by Marsyas, who worked as a poet colleague Telestes . Telestes thought all of this was nonsense, because Athena had indeed invented the aulos, but not thrown it away, but handed it over to Dionysus - Telestes calls him Bromios - as a helpful servant .

Rediscovery

So-called Finlay Crater, Athens, National Archaeological Museum

Like almost all bronze original works of ancient Greece, the original of the Athena Marsyas group of Myron has also been lost. Karl Otfried Müller, who was the first to refer to the passages of the myth in Pliny and Pausanias, recognized in Athenian coins from the Roman Empire and in the relief of the "Finlay Crater " in Athens, representations of the Athena-Marsyas group, which has been handed down from literature. This gave the first clues for looking for Roman copies based on Greek models. In 1824 the antiquarian Ignazio Vescovali carried out excavations in Via dei Quadro Cantoni on the Esquiline , during which, among many other finds, the statue of a satyr came to light. A year later, the statue was purchased for the musei Pontifici , but it was not exhibited in the Museo Gregoriano Profano until 1852 . As a result of an in-depth critical analysis of style , Heinrich Brunn recognized this statue as a Roman copy based on the model of the Myronian Marsyas in 1853. Half a century later, in 1907, Bruno Sauer suggested combining the statue of Marsyas with a type of statue of Athena, which is available in various replicas in Paris, Toulouse and Madrid. A year later, at Adolf Furtwängler's suggestion , Johannes Sieveking presented a first reconstruction of the group in plaster and a replica in copper. In 1909, Ludwig Pollak published the Frankfurt Athena, the best-preserved replica of the aforementioned Athena type as a counterpart to Marsyas of the Esquiline. Since the assignments turned out to be correct, the main relationships of the group were reconstructed.

Finding

Numerous copies of the group statues, some of which have only been preserved in fragments, were found in the monuments. There is a statue replica, seven body and at least three head replicas of Athena. One body replica, three torsos and three head replicas of Marsyas have so far been proven. There are also representations in vase painting, in relief and on coins. All of this allows a largely reliable reconstruction of the group, even if individual details are still the subject of scientific discussion. Nonetheless, there are mainly American researchers who deny the reference to the Pliny and Pausanian passages in principle and do not want to see traces of the Athena Marsyas group either in the representations of coins or in the statuary traditions. It was also proposed to separate two groups: with Pliny, one of Myron, whose location was not known, and one on the Acropolis, which could not be assigned to a sculptor.

Representations

Red-figure oinochoe from Vari (Attica), National Museums in Berlin
Drawing of a coin depicting Hadrian times

The oldest evidence of the group is the representation on a red-figure oinochoe that was found near the municipality of Vari in Attica . It was made around 440 BC. Created and is located in the State Museums in Berlin . Athena in the strict right profile, holding the lance with her left hand, has just thrown away the auloi with her outstretched right hand, which can still be seen falling to her right. She wears a helmet and aegis , under her ankle-length chiton the left standing and right free leg are clearly visible. From the right a satyr with a horse's tail, pointed animal ears and a shaggy beard approaches the center of the picture. His right leg, stepping forward, touches down roughly where the Auloi are about to land, but he seems to draw back with his right knee as if to jump. His right arm is raised high, his left arm, which is led down, absorbs the retreating movement of his left leg.

The same scene is depicted on a around the middle of the 1st century BC. Neo-Attic marble crater created in the 3rd century BC , which is in the National Archaeological Museum of Athens (inventory number 127), is known under the name "Finlay crater" and probably originates from Athens. The work, which has not been completely completed, is, however, mirrored in the group opposite the oinochoe: Marsyas on the left, Athena on the right. Marsyas raised his left arm accordingly. His movement, hovering between approach and retreat, is also less dramatically accentuated. Athena, whose hurrying to the right from the scene is clearly brought forward by the movement of her robe, holds a shield in her left hand, with her right she has just thrown the auloi away from her.

Coin portraits from the Roman Empire also show the group in two versions: while the coins from the Hadrian era show Athena without a lance on the left side of the picture, on the coins from the time of Gordian she is on the right. What both types have in common is the raised arm of Marsyas towards the center of the picture.

Athena statue

All replicas show the very youthful Athena standing upright, wearing a high-belted peplos , the right side of which is open. The weight rests on the stretched right leg, while the slightly angled left free leg is clearly visible under the garment. Your left foot only touches the ground with the ball of the ball and toes. In the body replicas of Lancellotti and Paris, the robe does not extend to the base of the stand , but rather shows the feet clearly. The Lancellotti torso is the only replica to have a garment hem at the edge of the robe, the apoptygma. The replicas in Florence and Hamburg mark Athena by means of an aegis, which is missing in all other repetitions. The upper body turns slightly to her left, which the head with its pushed back helmet - in the original probably the only identification of the statue as Athena - energetically picks up, so that it almost appears in profile. The gaze is directed towards a target to be searched for on the ground and the left arm, too, clearly pointing downwards, was turned away from the body. The goddess held a lance with her right hand, which has been preserved in the Frankfurt Athena as well as part of its arm. Athena's hair is turned over over the forehead and neck and pushed under the helmet - a Chalcidian helmet , as can be seen from the cut-out for the ears. However, a thick braid falls over the neck and shoulders of the replicas in Toulouse and Florence.

Replicas of Athena

Receive Repository Location description
statue Frankfurt am Main, Liebieghaus Inv. 195 Rome, Via Gregoriana 32 Height without plinth : 1.67 m. Frankfurt Athena. Discovered in Rome in 1884, acquired by Frankfurt citizens in 1908 and given to the Liebieghaus in 1909 when the museum opened. Pentelic marble body , Parian marble head .
torso Florence , Giardino di Boboli unknown Height: 1.47 m. Head and bust section added.
torso Hamburg , Museum for Arts and Crafts allegedly Villa Hadriana , Tivoli Height without plinth: 1.35 m. Right arm and left forearm are missing.
torso Madrid , Museo del Prado Inv. E-82 unknown Height without plinth: 1.39 m. Both arms are missing, the head was worked separately and is missing.
torso Paris , Louvre Inv. MA 2008 unknown Height without plinth: 1.38 m. Right shoulder and right back are missing up to the girdle. Pentelic marble.
torso Reggio Calabria , Museo Civico Inv. 6493 C unknown Much reduced repetition with a maximum height of 0.62 m.
torso Rome, Villa Massimo Rome, from the Villa Peretti on the Esquiline Height without plinth: 1.37 m. Athena Lancellotti. Missing head was worked separately. Right arm missing, left arm cut in the area of ​​the elbow and in the forearm, presumably a repair.
torso Toulouse , Museum Inv. 30339 Martres-Tolosane Height without plinth: 1.40 m. Found in 1890, both arms are missing. Mop of hair on the nape of the neck.
head Athens , Acropolis Museum Inv. 2353 Athens Height: 0.21 m. Only the neck and lower left half of the face are preserved.
head Dresden , State Sculpture Collection Allegedly from Apulia Height: 0.33 m. In Dresden since 1899, made of pentelic marble.
head Rome, Vatican Museums unknown Height: 0.17 m. Head fragment, broken above the forehead.
head Rome, Antiquarium Forense Inv. 12603 Rome, Basilica Aemilia in the Roman Forum Height: 0.25 m. Head fragment made of Pentelic marble, assignment likely but not confirmed.

Marsyas statue

The best-preserved replica of Marsyas in the Vatican Museums , which was found on the Esquiline in Rome, most conscientiously reproduces the movement motif of the satyr. Marsyas only stands on the balls of his feet, heels raised. His right leg is stretched out, his left foot is almost at right angles to it, pointing at the viewer, the slightly bent left leg carries the entire load shifted to the left and back. Only the lower leg of the statue of Esquiline has been added, but the position of the feet is secured. Prancing, pushing forward and retreating, Marsyas approaches an object lying on the floor, which is also his gaze. The muscles of the body are strong and well-trained; they are so detailed and anatomically correct that even fine veins can be seen on the surface. The right foot, as shown, is followed by the right arm, which is stretched up and slightly forward, while the left arm is held away from the upper body and down. The answer is the flatter chest muscles on the stretched right side. The whole body is seized at the moment of a beginning twist, which turns its forward urge into an escape. The forehead of Marsyas is thrown into deep creases, who can be clearly identified as a satyr by his pointed ears, the base of his tail and his thick, round nose. Astonishment, curiosity and awe of the target of his gaze are expressed in his facial expressions.

The largely preserved statue in the Vatican Museums has a special feature: it has two recesses on the base of the statue, one in front of the left foot, the other about 23 centimeters further to the left center. They were used to fasten one or more objects that were lost today and that were probably made separately from metal.

  • Marsyas of Esquiline, Rome, Museo Gregoriano Profano

  • Marsyas, Rome, Museo Barracco

Replicas of Marsyas

Receive Repository Location description
statue Rome, Vatican Museums Inv. 9974 Rome, Via dei Quadro Cantoni 46-48 Height without plinth: 1.56 m. Discovered in 1824 in Via dei Quadro Cantoni on the Esquiline . Broken head and discovered a few days later, arms that were once incorrectly added were removed again in 1925. Ears complemented in a modern way. Two antique indentations on the plinth.
torso Rome, Vatican Museums Inv. 9975 Castel Gandolfo Height: 1.12 m. Found in 1932 in the area of ​​the papal villa. The head, arms and lower legs are missing. Broken both thighs.
torso Malibu, California , J. Paul Getty Museum Inv. 71AA122 unknown Height: 0.72 m. Acquired from the art trade in 1971. The head, arms and legs are missing.
head Rome, Museo Barracco Acquired in Rome Height 0.28 m. Only the head made of antique pentelic marble and fitted into a modern bust.
head Rome, Capitoline Museums , Antiquarium Inv. 15724 Rome, Via Appia Height: 0.17 m. Discovered during excavations in the Circus des Maxentius on the Via Appia in 1960.
head Rome, Capitoline Museums, magazine inv. 2697 unknown Height: 0.17 m. Only the top of the head from the calotte to the upper lip has been preserved

reconstruction

No replica of one statue was found in connection with finds from the other. And although both types of statues give no direct indication that they had a counterpart, it can be seen from the structure and motif of both of them that they are not self-contained and stand-alone compositions. A comparison with the depictions in vase painting, relief and on coins, however, makes it clear that these two statues, which were also connected by iscephaly and a view of a common goal, once belonged to a common group context.

Since the first reconstructions of the group by Bruno Sauer in 1907 and those by Johannes Sieveking and Adolf Furtwängler in 1908, suggestions have been made again and again, mostly concentrating on the reconstruction of the arm postures, especially of Athena. Paul Jonas Meier believed he had recognized the remains of a small jetty, a “puntello”, on the right side of the robe called apoptygma in Frankfurt's Athena and in 1911 reconstructed the position of the right arm in front of the body, one inclined upwards to the group's composition center holding guided lance. He also turned the Marsyas more into profile. With the lance position Meier seemed for the first time to have come close to the statement of Pausanias that Athena had struck the satyrs.

An autopsy of the statue and, above all, of the Puntello, interpreted as a bridge, showed Heinrich Bulle that there is no basis for such a reconstruction, since the alleged Puntello is merely sintering and cannot provide any stable support. A few years later, he rejected his own reconstruction proposal.

Sieveking tried to find a new path in 1912. He broke away completely from the reconstruction developed in 1908 with Furtwängler and now gave Athena the two auloi in her left and right hand. On the one hand, the lack of expected holes in the object, which is sufficiently preserved in the hand of the Frankfurt Athena and which can only be a piece of a lance shaft, speaks against this, and on the other hand, the reconstruction does not take into account the holes on the basis of Marsyas from the Esquiline. But the reconstruction of an aulos in the right hand of Athena also met with approval from Peter Cornelis Bol and others.

So it can be said that regardless of further details, the question of the object in Athena’s right hand has not yet been resolved, while in all probability there was at least one aulos at the feet of Marsyas. The fact that Athena, with the lance in her right hand, was directed at Marsyas, while the open left hand pointed to the auloi lying on the ground, represented Raimund Wünsche .

Most recently, Vinzenz Brinkmann , following Heinrich Bulle, documented the technical findings of the Frankfurt athena replica. His observations favor the early reconstruction of Bulle, according to which the lance of Athena is positioned diagonally behind the body of Athena so as to point far out to her left.

  • Reconstructions of the Athena Marsyas group

  • Rome, Museo Gregoriano Profano

  • Frankfurt am Main, Liebieghaus

interpretation

There is neither news about the founder of the statue group nor about the reason for their installation. However, considerations were repeatedly made that tried to place the work in a historical context. Very specifically with a single donor and a specific occasion, John Boardman connected the group with the poet Melanippides, who from the middle of the 5th century BC. BC, wrote a dithyrambus Marsyas and was considered the innovator of the dithyrambus. Boardman turned against the 18th century and subsequently further developed, chronologically refined theories, which saw in the monument a symbolization of Athens' aforementioned claim to hegemony over Boeotia . In this reading, Marsyas represents the wild Boeotia, which loves aulos play, while Athena, the city goddess, represents the civilized Athens, which is oriented towards the play of lyre. Around the middle of the 5th century BC BC this antagonism was also carried out violently. In this constructed context, Myron was even seen as a particularly pointed, humorous and position-taking artist. Especially as directed against the Persians and with the Peace of Callias of 449/448 BC. Werner Gauer saw the group of statues as an anathema to be connected .

A different approach is followed by interpretations that focus on the invention of the aulos and emphasize Athena's aspect of bringing culture. The connection with Marsyas, however, would find its justification in the fact that the satyr served as a mediator of this art to the people, because according to Johannes Tzetzes , a Byzantine scholar of the 12th century, to whom extensive ancient writings were still available, Athena had the art of auletics handed over to Marsyas. A conflict between Athena and Marsyas was therefore not expressed in the group at all, the portrayal of such was never intended, but only a result of the incomprehension of later times.

So far, there have not been any satisfactory interpretations of the group and the reason for their establishment, supported by a broader scientific consensus, which is even attributed to the “special conceptual quality” of the work: Since it can be read and understood in many ways, the circle is also possible donor correspondingly large.

literature

Web links

Commons : Athena Marsyas Group  - Collection of pictures, videos and audio files

Remarks

  1. ↑ Pliny, Naturalis historia 34,59: fecit… Satyrum admirantem tibias et Minervam… ; already Eugen Petersen : Myrons Athena and Marsyas. In: Archäologischer Anzeiger . 1912, p. 111 recognized that Pliny lists the works of Myron in alphabetical order, so Marsyas and Athena must therefore belong together and are not to be understood as individual works.
  2. ↑ Pausanias 1,24,1: ἐνταῦθα Ἀθηνᾶ πεποίηται τὸν Σιληνὸν Μαρσύαν παίουσα, ὅτι δὴ τοὺς αὐλοὺς ἀνέλοιτο, ἐρρῖφθαι σφᾶς τῆς θεοῦ βουλομένης .
  3. ^ Karl Otfried Müller: Handbook of the archeology of art. Josef Max, Breslau 1830, § 371, 6, p. 488 f. ( Digitized version ).
  4. ^ Pindar, Pythian Odes 12.
  5. ↑ Plutarch , de musica 14p 1136b.
  6. ↑ Ovid , fasti 6,697-709; Ars amatoria 3,505 f.
  7. ↑ Ovid, fasti 6,697-709.
  8. ↑ Adolf H. Borbein : The statue of the hanging Marsyas. In: Marburger Winckelmann program. 1973, pp. 37-52, especially: pp. 48-51, plates 9-12; Hugo Meyer : The white and the red Marsyas. A copy-critical investigation (= Munich Archaeological Studies. Volume 2). Fink, Munich 1987, ISBN 3-7705-2476-4 ; Raimund Wünsche : Marsyas in ancient art. In: Reinhold Baumstark , Peter Volk (ed.): Apoll flies Marsyas. About the terrible in art. Catalog for the exhibition of the Bavarian National Museum in Munich from March 15 to June 18, 1995. Bavarian National Museum, Munich 1995, ISBN 3-925058-30-3 , pp. 144–147, cat. No. 2 and 3; The so-called “Marsyas-Schleifer-Gruppe” on the website of the Sculpture Hall Basel (with pictures).
  9. ^ Hyginus, Fabulae 165.
  10. ^ Karl August Böttiger: Pallas Musica and Apollo Marsyas-Töter. In: Wieland's Attic Museum. Volume 1, Issue 2, 1796, pp. 279–385 (= Carl August Böttiger, Julius Sillig (ed.): CA Böttiger's small writings of archaeological and antiquarian content collected and edited. Volume 1. Arnold, Dresden / Leipzig 1837, p. 3-60 [ digitized version ]).
  11. ↑ See for example Georg Daltrop , Peter Cornelis Bol : Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 16; for discussion Helga Bumke : Statuary groups in early Greek art (= yearbook of the German Archaeological Institute. Supplementary booklet 32). De Gruyter, Berlin / New York 2004, ISBN 3-11-018179-7 , p. 151 f., Especially Klaus Junker : The Athena Marsyas group of Myron on the Acropolis of Athens. In: Yearbook of the German Archaeological Institute . Volume 117, 2002, pp. 148-158.
  12. ↑ Plutarch, Alkibiades 2.
  13. ^ Plato, Symposium 251 a. 216 c.
  14. ^ Plato, Politeia 399 d – e.
  15. ↑ Aristotle, Politics 1341b.
  16. ↑ Melanippides in Athenaios 616e; John Boardman : Some Attic Fragments: Pot, Plaque and Dithyramb. In: Journal of Hellenic Studies . Volume 76, 1956, pp. 18-25; Piers B. Rawson: The Myth of Marsyas in the Roman Visual Art. An Iconographic Study. BAR, Oxford 1987, ISBN 0-86054-447-8 , p. 17.
  17. ↑ Denys Lionel Page : Poetae melici Graeci (PMG). Clarendon Press, Oxford 1962, fr. 758
  18. ↑ Denys Lionel Page: Poetae melici Graeci (PMG). Clarendon Press, Oxford 1962, fr. 805
  19. ^ Karl Otfried Müller: Handbook of the archeology of art. Josef Max, Breslau 1830, § 371, 6, p. 488 f.
  20. ^ Heinrich Brunn: Bullettino dell'Instituto di corrispondenza archeologica. 1853, p. 145 f. ( Digitized version ), see also: Il Marsia di Mirone. In: Annali dell'Istituto. Volume 30, 1858, pp. 374-383 ( digitized version ).
  21. ↑ Bruno Sauer: The Athena-Marsyas group of Myron. In: Weekly for classical philology. Volume 24, 1907, pp. 1243-1249; ders .: The Marsyas group of the Myron. In: Yearbook of the German Archaeological Institute. Volume 23, 1908, pp. 125-162.
  22. ↑ Johannes Sieveking: Myron's group of Athena and Marsyas. In: Archäologischer Anzeiger. 1908, pp. 341-343.
  23. ↑ Ludwig Pollak: The Athena of the Marsyas group of Myron. In: Annual books of the Austrian Archaeological Institute. Volume 12, 1909, pp. 154-165. 221 f.
  24. ↑ List of replicas with literature from Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 74 f.
  25. ↑ List of replicas with literature from Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 75 f.
  26. ↑ Represented for example by: Rhys Carpenter : Observations on Familiar Statuary in Rome (= Memoirs of the American Academy in Rome. Volume 18). New York 1941, pp. 5-7; Brunilde Sismondo Ridgway : The Severe Style in Greek Sculpture. Princeton University Press, Princeton (NJ) 1970, pp. 85 f .; dies .: Roman copies of Greek sculpture: the problem of the originals. University of Michigan Press, Ann Arbor 1984, ISBN 0-472-10038-6 , pp. 53 f. 62 note 34.
  27. ^ H. Anne Weis: The 'Marsyas' of Myron: Old Problems and New Evidence. In: American Journal of Archeology . Volume 83, 1979, pp. 214-219.
  28. ↑ On the crater Dagmar Grassinger : Roman marble crater (= Monumenta artis romanae. Volume 18). Philipp von Zabern, Mainz 1991, ISBN 3-8053-1087-0 , p. 156 f. Cat.-No. 2.
  29. ^ Jean N. Svoronos : Les monnaies d'Athènes. Volume 6. Munich 1923, plate 89, 26-30; Arvid Andrén: The Lateran Silenus and the group of Athena and Marsyas. In: Opuscula archaeologica. Volume 3, 1944, p. 7 fig. 1 and 14
  30. ^ Jean N. Svoronos: Les monnaies d'Athènes. Volume 6. Munich 1923, plate 89, 33-34; Arvid Andrén: The Lateran Silenus and the group of Athena and Marsyas. In: Opuscula archaeologica. Volume 3, 1944, p. 9 fig. 2
  31. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 74 No. 1.
  32. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 74 No. 2.
  33. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 74 No. 3.
  34. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 74 No. 4.
  35. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 74 No. 5.
  36. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 74 No. 6.
  37. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 74 No. 7.
  38. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 74 No. 8.
  39. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 75 No. 9.
  40. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 75 No. 10.
  41. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 75 No. 11.
  42. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 75 No. 12.
  43. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 47.
  44. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 75 No. 1.
  45. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 76 No. 2.
  46. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 76 No. 3.
  47. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 76 No. 4.
  48. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 76 No. 5.
  49. ^ Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 76 No. 6.
  50. ↑ On the reconstruction proposals up to 1983 see with literature Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, pp. 44-47.
  51. ^ Paul Jonas Meier: The Marsyas group of the Myron. In: New Yearbooks for Classical Antiquity. Volume 27, 1911, pp. 551-560.
  52. ^ Heinrich Bulle: A new addition to the Myronic Athena in Frankfurt am Main. In: Yearbook of the German Archaeological Institute. Volume 27, 1912, pp. 175-199.
  53. ^ Heinrich Bulle: A new addition to the Myronic Athena in Frankfurt am Main. In: Yearbook of the German Archaeological Institute. Volume 27, 1912, pp. 175–199 Fig. 22. 23.
  54. ^ Heinrich Bulle: The Sami group of Myron. In: Festschrift for Paul Arndt. Bruckmann, Munich 1925, pp. 62–141, here: p. 140, note 35.
  55. ↑ Johannes Sieveking: The additions to the Marsyas group of Myron. In: Archäologischer Anzeiger. 1912, pp. 1-10.
  56. ↑ Raimund Wünsche: Marsyas in ancient art. In: Reinhold Baumstark , Peter Volk (ed.): Apoll flies Marsyas. About the terrible in art. Catalog for the exhibition of the Bavarian National Museum in Munich from March 15 to June 18, 1995. Bayerisches Nationalmuseum, Munich 1995, ISBN 3-925058-30-3 , pp. 19–47, here: p. 23.
  57. ↑ Peter Cornelis Bol in: Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 47.
  58. ↑ Brigitte M. Klein: The Myronic Athena - About to leave? In: Boreas. Münster contributions to archeology. Volume 11, 1988, pp. 43-47.
  59. ↑ Raimund Wünsche: Marsyas in ancient art. In: Reinhold Baumstark, Peter Volk (ed.): Apoll flies Marsyas. About the terrible in art. Catalog for the exhibition of the Bavarian National Museum in Munich from March 15 to June 18, 1995. Bavarian National Museum, Munich 1995, pp. 19–47, here: p. 26.
  60. ↑ Vinzenz Brinkmann (Ed.): Back to the Classics. A new look at ancient Greece. Exhibition catalog Liebieghaus Skulpturensammlung. Liebieghaus, Frankfurt 2013, ISBN 978-3-943215-02-1 , pp. 46-48.
  61. ↑ John Boardman, Some Attic Fragments: Pot, Plaque and Dithyramb. In: Journal of Hellenic Studies. Volume 76, 1956, pp. 18-25.
  62. ^ Karl August Böttiger: Pallas Musica and Apollo Marsyas-Töter. In: Wieland's Attic Museum. Volume 1, Issue 2, 1796, pp. 279–385 (= Carl August Böttiger, Julius Sillig (ed.): CA Böttiger's small writings of archaeological and antiquarian content collected and edited. Volume 1. Arnold, Dresden / Leipzig 1837, p. 3-60).
  63. ↑ Cf. for example Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 53 f .; Irmgard Kasper-Butz: The goddess Athena in classical Athens: Athena as the representative of the democratic state. Lang, Frankfurt am Main / New York 1990, p. 184; Peter Cornelis Bol: Liebieghaus - Museum of old sculpture, Frankfurt am Main. Guide to the collections. Greek and Roman sculpture. Liebieghaus, Frankfurt am Main 1997, p. 73.
  64. ↑ Georg Lippold : Greek sculpture (= handbook of archeology. Vol. 3). Beck, Munich 1950, p. 139
  65. ↑ Werner Gauer: Athena and Marsyas. In: Detlef Rößler, Veit Stürmer (Ed.): Mode in Rebus. Commemorative letter for W. Schindler. Mann, Berlin 1995, pp. 50-55.
  66. ^ Hans-Christoph von Mosch: Pictures for the glory of Athens. Aspects of the city labor in the imperial coinage of Athens. Ennerre, Milan 1999, ISBN 88-87235-06-6 , p. 33 f.
  67. ↑ Johannes Tzetzes, chiliades 1,369.
  68. ↑ For the interpretation as the inventor of the ubiquitous and popular aulos music in Myron's time, as well as the change in understanding associated with the work, see Klaus Junker : The Athena-Marsyas-Group of Myron on the Acropolis of Athens. In: Yearbook of the German Archaeological Institute. Volume 117, 2002, pp. 127-183.
  69. ^ Peter Cornelis Bol: Liebieghaus - Museum of old sculpture, Frankfurt am Main. Guide to the collections. Greek and Roman sculpture. Liebieghaus, Frankfurt am Main 1997, p. 73.
  70. ^ Klaus Junker: The Athena Marsyas group of Myron on the Acropolis of Athens. In: Yearbook of the German Archaeological Institute. Volume 117, 2002, p. 178.
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