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A Sarcophagus of the Sidamara type in the Collection of Sir Frederick Cook, Bart., and the Influence of Stage Architecture upon the Art of Antioch

Published online by Cambridge University Press:  23 December 2013

Josef Strzygowski
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Extract

In the collection of Sir Frederick Cook at Doughty House, Richmond, are nine fragments of a large sarcophagus of surpassing interest for the modern scientific history of art. They were identified some two years ago by Mrs. Arthur Strong, who is engaged upon a new illustrated catalogue of the Richmond antiques which is shortly to appear in this Journal. Mrs. Strong at once communicated to me the existence of a sarcophagus of so much importance for the studies I had initiated in my book Orient oder Rom, and, by the courtesy of the owner, I at the same time received a set of photographs of the nine fragments.

Type
Research Article
Information
The Journal of Hellenic Studies , Volume 27 , November 1907 , pp. 99 - 122
Copyright
Copyright © The Society for the Promotion of Hellenic Studies 1907

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References

1 The Richmond collection is, of course, included in Michaelis' Ancient Marbles in Great Britain. At the time when this book was published, the sarcophagus now described was not yet in the collection. It was purchased by the late owner, Sir Francis Cook, about twenty-two years ago. Mrs. Strong has been unable to discover the previous history of these fragments. According to Sir Frederick Cook's house-steward they had been for over fifty years in a garden in London, and were quite black with London dirt when they were first brought to Richmond. Till two years ago two of the fragments remained in the Doughty House Conservatory.

2 Michon, , Mélanges d' Archéologie, xxvi. p. 81 Google Scholar.

3 Muñoz, , Monumenti d'Arte, i. 3 Google Scholar.

4 Mendel, , Bull. de Corr. Hell. xxvi. p. 236 Google Scholar.

5 The same, p. 235.

6 Mrs. Strong does not consider that the fragment now plastered up at the bottom on the left of B can belong here. Though the foot fairly suits the pose of B's right leg, so it would that of many another figure. Moreover, if the foot is placed correctly in relation to B, then the base of the column is out of line with the shaft. By the side of the base may be seen the hoof of a horse. Mrs. Strong accordingly thinks the fragment may belong to a lost Dioscurus, as on the left of the Sidamara and Selefkeh sarcophagi; or seeing that this basis differs in shape from that of the other columns usually found on the long sides of these sarcophagi, that it may belong to one of the shorter sides (cf. Sidamara, the short side with the huntsman, Mon. Piot, ix. Plate XIX. 2).

7 Reproduced by Muñoz, , L'Arte, ix. p. 133 Google Scholar.

8 Monumenti d'Arte, Tav. i. 3, below.

9 Strzygowski, , Orient oder Rom, p. 52 Google Scholar.

10 The same, p. 47.

11 Bull. de Corr. Hell. xxvi. p. 225, Fig. 5.

12 L'Arte ix. p. 131, Fig. I.

13 Cf. the examples brought together by Strzygowski, , Orient oder Rom, ss. 40 f.Google Scholar, and Byz. Zeitschrift, x. 726, and xv. 419; Muñoz, , nuovo Bull. di Arch. Christ. xi. 81 f.Google Scholar, and L'Arte ix. 132; Michon, , Mélanges d'Archéol. xxvi. pp. 79 fGoogle Scholar.

14 Jahrbuch der königlich preussischen Kunstsammlungen, 1904, pp. 205 f.

15 Cf. Göttingische gelehrte Anzeigen, 1906 pp. 911 f.

16 See on this point my Orient oder Rom, p. 56.

17 Die Schicksale des Hellenismus in der bildenden Kunst in Neue Jahrbücher für das klassische Alterthum, xv. pp. 19 f.

18 Orient oder Rom, p. 59.

19 Die Basis des Praxiteles aus Mantineia, pp. 26 f.; Reinach, S., however, ascribes it to Lysippus (Rev. Arch. 1900, ii. pp. 380 f.)Google Scholar, likewise Collignon, , ‘Lysippe’ (Les Grands Artistes, p. 21, p. 88)Google Scholar. A middle view is taken by Michaelis, in Springer's Kunstgeschichte, i. (‘Alterthum’), pp. 280 f.Google Scholar; cf. also Wörmann, , Kunstgeschichte, i. p. 454 Google Scholar; Strong, E. in Classical Review, 1901, pp. 187 Google Scholar f.

20 Cf. Hamdy Bey and Th. Reinach, Les Sarcophages de Sidon.

21 Wüstenfeld, , Geschichte der Kopten, p. 80 Google Scholar, B. 4.

22 System. alphab. Hauptkatalog der K. Univ. Bibl. zu Tübingen, xiii. ‘Verzeichnis der armenischen Handschriften,’ Tübingen, 1907.

23 On this point see Franz Pasha, Cairo.

24 Strzygowski, , Kleinasien ein Neuland der Kunstgeschichte, p. 38 Google Scholar.

25 Von Sybel, , Christliche Antike, 1906 Google Scholar.

26 Jahrbuch der preussischen Kunstsammlungen, 1904, p. 299, ‘Mschatta.’

27 Alois Riegl, , Spätrömische Kunstindustrie, p. 122 Google Scholar: the artist ‘hat es geflissentlich vermieden, eine bestimmte momentane Art des Stehens auf den Stufen darzustellen, da sein Streben vielmehr darauf gerichtet war, das Stehen über den Stufen an sich, als objektiven Typus, dem Beschauer vor Augen zu führen und die Füsse vermittels der Obersicht als tief-raumerfüllend zu charakterisieren.’

28 Cf. Römische Quartalschrift, iv. 102.

29 Such groups in ivory are to be found in nearly all museums.

30 This illustration and the following are after von Cube, , Die Römische ‘scenae frons’ in den pompeianischen Wandbildern, Berlin, 1906 Google Scholar.

31 Cf. Strzygowski, , Göttingische gelchrte Anzeigen, 1906, pp. 910 fGoogle Scholar.

32 Revue des Études anciennes, 1901, p. 358; Studies in the History of the Eastern Provinces, p. 60.

33 Orient oder Rom, p. 54.

34 Monuments Piot, ix. p. 7.