An Orphic Bowl

Author(s): R. Delbrueck and W. Vollgraff

Source: The Journal of Hellenic Studies, Vol. 54, Part 2 (1934), pp. 129-139
Published by: The Society for the Promotion of Hellenic Studies
Stable URL: http://www.jstor.org/stable/626856
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 AN ORPHIC BOWL

[PLATES III, IV, V.]

THE alabaster bowl which is our subject is at present in t

of Dr. J. Hirsch of Geneva and is published with his kind c
recently it was in a private collection in Leipzig; it was
acquired in the Mediterranean area several decades ago.1
dimensions are:
Diam. at top, 22 cm.; h. 8 cm.; greatest depth, 5.5 cm.;
the central knob of the base, 4 cm., and of the outer base-rin
h. of arcade, 4 cm. Measurements seem to be based on an inch
2 cm.

The bowl was worked freehand, without the lathe, and

somewhat uneven and irregular in shape. A deep point in
the bottom indicates that the compass was used to contr
carving was done with some form of knife; the cutting
round and between the letters of the inscription (fig. I), at t

Ni

FIG. I.-PART OF THE INSCRIPTION, ENLARGED TO SHEW KNIFE-MARKS.

hair, and elsewhere. The drill cannot be distinctly traced, but the surfa
worn and marks of tooling have almost entirely disappeared. The f
and the dragon, on the interior, and most of the exterior were po
but the ground above the heads of the figures, and the omphalos we
dull, and so perhaps were the fields of the exterior arcade. This diff
of surface finish corresponds to the original polychromy, of which
but unmistakable traces remain, recalling the miniatures of a P
Codex; details will be given later.
In shape the bowl reproduces closely a vessel of beaten metal com
of two separate parts-the inner actual phiale, and an outer ba
which the former lay. The metal origin no doubt was used for lib
the alabaster copy would be a votive offering. The inner phiale is
1 H. Lamer, Eine spatgr. Schale mit orphischer
illustrations of details at the Akad. Kunstmuseum,
Bonn,
Aufschrift, in PhW. 51 (1931), 653 ff. (note, Hofgartenstr. 2.
con-
clusions generally correct). Negatives and other
129

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130 R. DELBRUECK AND W. VOLLGRAFF

deep with sharp edge and in the centre is a

egg-shaped pointed omphalos of familiar type (
basket has a flatter curve, and its sides are mor
as far as the edge of the phiale, so that this, on
conveniently grasped and lifted out. On the
central knob surrounded by a flattened con
runs a thick basal ring flattened on the undersi
a second and larger ring. Knob and inner ri
than the outer ring; the bowl was probably m
surface but on a soft cushion into which it san
outer ring, just where base curves up into side,
in three-quarter projection. On it is cut in raise
of Orphic import. The side of the basket is
through the openings we see the inner phiale
downwards more sharply. The arcade is bent t
basket and thereby its projection grows shallow

FIG. 2.-SECTION OF THE BOWL.

are visible, four more are concealed by floating Erotes. The columns
stand on the inscribed moulding; they have a primitive, unclassical form:
thin square bases, the angles sometimes cut away; massive, strongly
tapered shafts with entasis and no capitals; the flat arches project beyond
the ends of the shafts.
The shape of the bowl is tectonically clear and defined, simple and
solid in the whole and in parts. Provincial in the sense of a clumsy re-
production from a fine metropolitan model it cannot be called; it indicates
rather a skilled if limited art possessed of naive self-assurance.
In describing the decoration we shall for the moment record the facts,
omitting all attempt at far-reaching explanation. The Orphic import,
which is certain, has already been presumed, but we shall arrive at a proof
of it when we come to the inscriptions.
Around the omphalos is coiled a fat dragon with small wings and a
slender tapering lizard's tail (fig. 3). His head is laid to one side as if
resting, but he does not sleep; his eye is wide open. The head is somewhat
like a lizard's, but has grinning teeth and small pointed ears, such as are

2 DS. s.v. phiala (Pottier); Walters, Hist. Anc.

Kaibel, p. 10o5). Such a cup was called pi&dA
Pottery, I, 191, fig. 53; Athenaeus, XI, 103 (ed. paAavAl6cpaAos (Athen. ed. cit., p. io6, 17).

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 AN ORPHIC BOWL 131

often found in representations

the nostrils are indicated but
hollowed for some coloured pas
by an open flower with four over
of pointed shape. The first lie
the leaves the tops of a lower r
encircle the emblema; in the th

--:;Riii!iiii~ii!iiiiiiii;

iiiiiiiii; iii
F--iiliiiiiii!

FIG. 3.-THE DRAGON.

on the other rows the centre line may have been indicated by
line. The outermost ring, on the other hand, is composed of
leaves which extend almost to the edge of the bowl and whic
visible between the figures.
In the concave interior of the phiale (P1. III) stand sixt
figures, set radially, stiff and frontal, heads under the lip, f
centre; they are imagined as looking towards the dragon. Fou

3 E.g. Matzulewitsch, Byzant. Ant. T. 2, 3 (early Byzantine silver cup).

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 132 R. DELBRUECK AND W. VOLLGRAFF

three young men, and nine young women

Arms and hands are held schematically in d
generally the right, rests somewhere near the
raised palm outward in the attitude of prayer
the case of the men, who therefore are prayin
It is rare that the free hand hangs down pa
front of the body. Whether elders, youths, and w
family groups cannot be decided, for the figur
connexion. The men seem to be infibulated, an
The physical type-one might call it seal-lik
it tallies with the tectonic temperament of
appearance of the dragon. It gives an impre
cold-bloodedness, un-Greek and not over-soulf
thin legs and plump torsos; the necks are invi
with sloping and commonplace profiles, straigh
The women's breasts are flat and big. On the m
cap; it is apparently cut to half-length, the ed
have bald foreheads. On the women the hair
suggests that it was gathered in a knot behin
show the same youthful, expressionless type o
on the contrary, have wrinkled foreheads, thi
hooked noses, pointed or full beards, and d
features, especially of the old men, are som
if they were portraits, but this is probably un
worshippers of the Dragon-god in lowly nudit
gregation; there seem to be no priests. Cu
phenomenon and is expressly attested for the O
The four Erotes on the exterior of the basket
bent and little wings spread out on each side;
represented sea-shells (fig. 5). The free hand
them, was open and raised in front, a gesture
greeting or rejoicing. The physical type of the
of the other figures, but with infantile pro
pairs facing one another and are not trumpeti
heaven. They therefore cannot be wind-gods,
case wind-gods are usually depicted as men. W
youthful heralds of the Dragon-god.
The inscribed encircling band (fig. 6) is inter
the Erotes, and these further conceal some of
explained if again we assume a metal prototyp
been soldered afterwards.
In the decorative uncial script most letters have their customary form
we may note, however, the forms of 0, K, 9, or, , p.5 Few ligatures are
employed; once a horizontal stroke indicates the continuity of two word
wrongly separated by an Eros. There are not a few blunders, which are

SJ. Heckenbach, de nuditate sacra sacrisque vinculis,

5 On the form of the p cf. Boeckh's remarks on the
RGVV. ix, 3, 13 (Aristophanes, Nubes 498). late inscr. from Smyrna, CIG. 3157, 3285, 3386.

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 AN ORPHIC BOWL 133

easily explained as due to faulty

the metal prototype. In &a-irEpou
the reverse, o for ov. The blunder
error, since it is precisely the a
perhaps on the prototype the
text runs as follows; omissions

iiiii? ii:;?:'' X '::ii:

I--?>

''--::: :_j,-i-P.

>i::: p. , : :::::- -

KX.,i -:::I :::::-- :Ii

;;wX-- ::_-:-~i l?~

Miii;?eli?l~:i:i

ME`-is~~s~ 8 ~ dl~~~~~~
.... . ......

...... ... ....?:-:::::i.::::::-

M p.~:: ll::~:-:::: :ili;'ii liiii:~iiii

::-::ix

LB-iiqd di

-::-:~ ~asii ON
111111MY
X.iiii~

SRI-?i~

FIG. 4.-FIGURES FROM THE INTERIOR.

the position of an Eros; the invocation soiE marks

common in Greek religious inscriptions;7
(A) eEoi* o0VEKGC BIVEi(TCrl) KGT' aTrEipO(pou(v)ac aKp6v--
(B) d&yha ZEV, K6OUI0(V) yEVViTo(p) E
(C) KEKOelJ T-rNETr(6)poU Sivrs VlKCiUyE' KiK(7OV) E
(D) oCipav6o TE yada TE iv 0opq1 Ia E.
A is a line from an Orphic hymn from which Mac
6 Cf. Larfeld, Gr. Epig.3 276. 8 Saturnalia I, c. 18, I2. 0. Kern, Orph
7 Larfeld, 306 f. fragmenta, frg. 237-

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 134 R. DELBRUECK AND W. VOLLGRAFF

passage of nine lines with the words Orpheus qu

ait inter cetera ... As he rightly saw, the poem
whom men have also applied the names of Pha
and Dionysos:
A1covuuo-o ' "TrEK?0'(rl,
OVVEKa 8~VEITal KaT' dCT'EipOVa paKpbV "OIupTrov..9

Further, Dionysos (the Sun) is so named &76 TOOJ ~lvEiceal Kal TmEplqEpEc0aI,
id est quod circumferatur in ambitum. Compare Macr. I. I8, I8 : Solem Liberum
esse manifeste pronuntiat Orpheus hoc versu (frg. 239 Kern):

"Hitos 8v At6vuocov TTiKKTlO'V Kc6aOU'cIV.

The Oriental doctrine, promulgated in A, B, and C, that the Sun is the
creative and actuating Spirit in the Universe, was current over the Roman
Empire in the last days of heathendom.10 Macrobius was writing towards
the end of the fourth century. If all the Orphic verses in his first book
were taken by him from a work of Cornelius Labeo, as there is reason to
suppose, then they would be probably at least a century older. From its
literary form frg. 237 cannot be dated; there is no reason to think it later
than the Orphic poem from which Diodorus (I. I I, 3) cites the verse:
TO'VEK plyV KcAEaOUlaI $I(VjTIa TE Kac AiOVUOcOV.
B recalls forcibly lines 3 and 4 of the Orphic fragment we shall discuss
under C. Possibly we have here the beginning of a hymn which has not
come down to us. In any case, comparison of the two fragments makes
clear that under the Trpocovvupia ' d&yaE ZE0' Helios here again is meant.
C is the opening of an Orphic hymn of which Macrobius (Saturnalia I,
23, 22; frg. 236 Kern) cites the first four lines as proof that the Sun is the
true divinity of the Orphics: Solem esse omnia et Orpheus testatur his versibus:

KiKKJU01 TT\ETro6pov i1v~lS E'IlKaUyEa KlK?'OV

OlpavilS o -rpoydcaltyl 'rEpi8popov aiEV ii-oG'coV,
dyhac ZEi, Al6vuE, TIdaTEp Tro6vTOv, TEp al',
"HMlE TrayyiVETOp, T-raTaiorE, XPVpucmoEpEyy.

The fragment gives the impression of being roughly contemporary with

the surviving collection of the Orphic Hymns. These were probably
composed in the third or fourth century after Christ; at least L. van
Liempt has shewn 11 that the vocabulary of the Hymns resembles that of
many works admittedly composed in that age. The neglect of position in
ay2aEi ZEV may be an indication of that period.
D comes from a monologue of the MEAavirTrl i eopi of Euripides (frg. 484
Nauck) which was very famous in the ancient world.12 Melanippe
relates briefly the Orphic teaching of the creation of the world from the
World-Egg which opened and formed the vault of heaven from the top of
9 Cf. Hymni Orphici vi, I: Tpco-r6yovov ai0Ep6- 11 De vocabulario hymn. Orph. et aetate, Utrecht, 1930.
rrXayK-rov, and 6: rIT&vT 8Glvlesi wTrpiycov ITraiS KCaTa 12 Cf. J. E. Harrison, Themis, 463 f.: 'The
6crpov. priceless fragment of the Melanippe.'
10 Cumont, Mgm. Miss. arch. de Perse, xx, 93-

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 AN ORPHIC BOWL 135

its shell, while the earth grew from

passage quoted verbatim by Eusebiu
teaching to those who first taught
(oci TrpcATOV K cTaOEIEaVTES TpaKV T
and Euripides again, he says, who w
the mouth of Melanippe. The quo
Philodemos (Orph. frg. 30 Kern), Cle
compared Orphic texts with Eurip
obviously favourite and admired pa
at the worship of Orphic communiti
In a detailed interpretation of t
:;_;:::-~-,I:#is;l:i:1:1:::::ii-i;::::: i-iiiil:i:-i? - i;: .:. :-.

:::::-~ ::::~;d
:----
~~-:-:::::::::::::~

~ ::::::::::i

:~:~s
--n~?i:,:, :::::_:::::

:-::: --::.??:::::- .. :: .... :: : :-":-:-:-:: ::i

Bi-i-i::-i-i:

W'iFig

iiil--
?--:-~~iii-"ii

-i-i:fD: :-:-:::::;~;;:-:r:I

~liiiii'r?i~i
i::i:jil:i:l:~:::::

s-ii:::;:-;i:::::_:
::jj:::~i:::::j:::
"I':'';:-'-----: -- :?::i.~i

~~:i::
i~::::l
ij`i%~Pr~?11~8llll~s~is~~s~ammor~ ssggpg~qedgs~g~$gp~s~~

iii:i-i:id

i~~~ilj.~ ,IPrrsg - I~sB~~'"~B~b"~m~???~88~sli:~~i'l: I~i~!~

::::~:i:i:i'i;:il:
':ii':iiiii''"s:ii?:~i-:i':'?

iri -:::::::-:? i:i:::i .:jil.:i:ii'-''i:'?l:i-::::-:-:::-:l:':l ::::::l:i ::~:?:i::i~

::::::j:~;:::::-: ::::i::" ::?:?::::::::i'::: :,:::::?i::: :,-:;:::?i: :::::: ij:i:i:
r~::::::,::j:l:lifll:: :::::':::'':':: :I-':;;:::i:::::::::::i:::::::::::::::::j

-i:i:ii:'::jj: I:?-- -:i:i::::::-:: : :::

:::-li:r:
::::.? :i:::
::1::::il?:jii:l:':::::':l:i':::l:l.:i:iii
: :::::::::?:?:?--???
.:i?~Liii'i'F.:Oi.i:i:'?i-ilii:i:: ?i:::l:.: : : ::I:::? :':':' ':i ::l"::-:'l:'ii:i::i
.i:.-:-:::::::::::::i:i::
ii~~:i::::-:-lli .: ::?::-:::::?:::::I:::11-:-1
::::::::*::

: ...... ::::::::::::-::::::: . i-::--:----::-:i::-i:::

~,:l-:li;'iii;iii-iiiiiiii?~i:iii:-i:ii
i:::::.i:i:i:i:_:::: ::::-:::-:-:: :-j::::::':~:-i
r~~~:i:::~:::::??~:::

Zi~

FIG. 5.-AN EROS.

conclude from the inscriptions that the dragon must be the Orphic deity of
many names frequently mentioned in the verses, who is here depicted in
the midst of his worshippers. That Phanes did possess dragon form is
proved by the sneer of the apologist Athenagoras (pro Christianis 20; frg. 58
Kern): KI TriS av avepcOTOS .. . TOV c6V rTCa 8E- CTO i T'I pi Xfipa EXEIV
8prKovTroS;
Again, in the omphalos we are perhaps to recognise the Egg from
which Phanes sprang. The rayed wreath can be identified with certainty
as a representation of the Sun whose light, according to the Orphics,
radiated from Phanes.14 From earliest times in the Orient and Europe
13 From the World-Egg sprang also Phanes or 14 Orphic frg. 86 (Kern), p,yyos a-EXihrov Troio (rre-
Protogonos, who is accordingly named 4oyvius rpcrraTE Xpo6s dOeav-roio Dvtros. Frg. 87, Xai-rrp6v
(Hymni Orph. VI, 2).
ayv 0(pos &yv6v, 6cp' 0 o oE () (VTlOTa KIKX'IOKW,.

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136 R. DELBRUECK AND W. VOLLGRAFF

the Sun-disk has been depicted in the form

examples are given in fig. 7.15 An especially cl
on the lintel of the Temple of Sia in the Ha
32 B.C.
The date of the bowl can only be determ
third to sixth century after Christ, for its hi
fixed at the moment; the bowl is an isolated p
fication. Later than Justinian we can hardl
Orphic congregations continued to exist at a la
the Orphic poem from which verse C is taken
have seen, than the third century of our era
similarity of arcading on the interior of a si
Leningrad,16 for the motive is common from
a border for mosaics, in architecture, and in K
letters might theoretically provide a means of
only be used with caution while so few late i
photographs or good drawings. It may be cha
be most frequent in North and Central Syria
with even-spaced letters is fairly common ex
sixth centuries; 17 but there are other reason
this area.
The tolerably correct orthography of the verses-its few errors are
not Latinisms-and the pure Greek lettering, uninfluenced by the Latin
alphabet, suggest the Eastern Empire. Within the Eastern Empire, the
Greek areas in the narrower sense of the word are excluded by reason of
the heavy style, and, especially, the unclassical feeling of the arcade.
Egypt, Syria, and Anatolia remain. A certain general resemblance to
Coptic bronze work may be noted, but the human type is not Egyptian;
it compares more closely with several ivories which may be assigned, in my
opinion for good reason, to Syria or inner Asia Minor; e.g. the Andrews
Diptych.18 Again, thick smooth columns are particularly frequent in
late times over the Syro-Anatolian area; 19 so the resemblance of the letter-
ing we have noted to inscriptions from Syria may not after all be accidental.
In Syria or in Asia Minor we perhaps should place the home of the Orphic
community who may have deposited the alabaster bowl, perhaps as a
votive offering, in their chapel.
The special importance of the bowl lies in the fact that it is, so far as
we know, the only representation of a cult-scene, a SpcbjEvov, from the
jealously-concealed Orphic mysteries.20 At some future date it may
become a significant piece in the history of the art of the Syro-Anatolian
background. In the whole circle of Greek culture there is scarcely another

15 Cf. further Contenau, Man. d'arch. orient. II,(Kanawat, Leathen); 813 (A.D. 605); 842 (A.D.
805, fig. 563; Evans, PoM. I, 478, fig. 342 b, 479, 3;598/9), etc.
fig. 343; 514, fig. 37I; Hogarth, JHS, 1902, 334, 18 Delbrueck, Consulardiptychen, N 70.
pl. I2; Reisinger, Kret. Vasenm. T. 2, 13 (interpreta- 19 E.g. Perrot and Chipiez, IV, 687; V, 200.
tion incorrect). 20 Firmicus Maternus, de err. pr. rel. I8, I.-
16 Matzulewitsch, Byz. Ant. T. 24. Real-Enzyklopadie, s.v. Mysterien, 1324 (Th.
~7 E.g. Princeton Exped. to Syria, III, n. 763, 765Hopfner).

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 AN ORPHIC BOWL 137
instance of sacred texts on a vessel, and t
the purpose of the verses. We may perhap
use among the faithful.2"

The technical observations which occup

supplement in some measure the descript
junction with them set the antique orig
For the chemical and microscopical inve
Chudoba, Privatdozent of Mineralogy a

A..

:::: O:kW W

C ... ..K.. .. ..t

D. * ...
mom":: -?? aijR

B. ~wpm"
..... . . . . .~?i ~ _-i

FIG. 6.-THE INSCRIPTION.

examination under the ultra-violet lamp followed the methods de

by Rorimer.22
The alabaster of the bowl is snow-white and slightly crystalli
fresh breaks (fig. 8). Grey veins run through the mass. There ar
cracks, sometimes so fine as to be visible only with strong magnif
The source of this alabaster cannot be determined. A stone which
lay eye appears externally to be entirely identical is found in early By
capitals in the Louvre from Rusafa in Syria; nothing so close s
occur in Egyptian or Mesopotamian alabasters.
After long and repeated examination what remains of the a
polychromy can be stated with certainty. A light purple appears
omphalos, perhaps also between the figures on the interior, cert
some of the arcades on the exterior. Under the ultra-violet la
purple patches give a clear difference of tone. On the figures are
21 Real-Enzyklopddie, s.v. Mysterien 1279
22 J.f.R. Rorimer, Ultra-violet Rays (New York, 193 1)-
(0. Kern).

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 138 R. DELBRUECK AND W. VOLLGRAFF

traces of black paint: on the eyelashes, between th

the hair, on the whole of the hair of two of the Erote
and on the pubes of some of the men. Under the
colouring is shown to be charcoal. Lastly, the sca
hollowed at their inner angles, and the holes filled
yellow-white substance, which burns without ash a
made of wax or some similar material. Possibly thi
ground for a colour, or perhaps gold leaf, but n
detected.
The surface is now weathered to a yellow-grey, and seems more
homogeneous than the interior; on the base the weathering is markedly
less. In the fresh break on the shoulder of one of the Erotes the ultra-
violet lamp reveals the weathered-layer as about half a millimetre in
thickness and of fatty structure. Similarly weathered edges run along the
cracks; the cracks assist percolation of water and therefore promote
weathering. From the amount of weathering it is clear that the bowl has

. HE SUN DEPICED AS A FLOWER.

FIG. 7.-THE SUN DEPICTED AS A FLOWER.

a = wheel-shaped textile pattern, from the coat of Adad; Bab

fig. 1275.
b =-sun wheel: Greek Geometric--Tiryns, I, pl. i8; AM. 1903, Beilage 32, 3. Gaulish-Macdonald,
Hunterian Collection, III, pl. 101o, 36.
c = same as a.

d = coin of Itanos-BM. Coins, Crete, pl. 12, 7.

e = Coptic textile pattern-V. and A. Mus. Cat. Textiles from Egypt, II, p
f = lintel decoration from temple at Sia (Hauran), 37-32 B.c.-H. C. Bu
-de Vogue, Syrie Centrale, Architecture, I, pl. 3, Dussaud, RA. I903, I,

long been exposed to the action of the atmospher

a period of several centuries, in the considered op
colleagues who have been consulted. On old Egy
which
but no were examined for comparison the weathere
thicker.
On the interior of the bowl and in a smaller d
are everywhere traces of scale, a brown, very adhe
of iron oxide and particles of quartz with no othe
No method seems to be known whereby this s
artificially without the use of an agglutinant. S
remain from moulding the bowl; they show up w
ultra-violet lamp.
The authenticity of the bowl has been thus em
been compared with a group of South Russian
objects which reached Germany between I910
rather crude and vulgar things.
23 E.g. Lehner, Germania, 1928, 117 ff., with illustrations and re

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 AN ORPHIC BOWL 139

If we now summarise the reason

sidering the bowl to be antique
weight:
I. The bowl is made freehand and hence has a very irregular shape.
A forger would have worked more accurately.
2. The surface is partly polished, partly dull (in the areas where it bore

FIG. 8.-FRESH BREAK ON ARM OF AN EROS, ENLARGED.

colouring). For a forger, who did not intend to paint the cup, the difference
would be meaningless.
3. The addition of the slight and concealed traces of polychromy
would have been purposeless for a forger.
4. The weathered layer visible in ultra-violet light indicates that the
bowl has been in existence for a very long time.
5. The scale on the surface is of natural origin.
6. For the whole bowl, and for its details, no prototypes are known
which a forger could have used.
Bonn, R. DELBRUECK.
Utrecht. W. VOLLGRAFF.

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 JHS. VOL. LIV (1934) PLATE 111.

. ... .. ..

---~aaras~ 3..........

I-,, I

: :-iilwiik

Ap ,BB~ ~-- ~ a:

0017

Ik,::: !vy -~
Rw?~
-:-lot
142?
i-- : nIt

wlk,

W.9"

INTERIOR OF ALABASTER BOWL, IN GENEVA.

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 JHS. VOL. LIV (1934). PLATE IV.

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EXTERIOR OF ALABASTER BOWL, IN GENEVA.

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 JHS. VOL. LIV (1934), PLATE V

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DETAILS OF THE ALABASTER BOWL.

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