Hippolytus in a quadriga - Marten Kuilman (2020)
Photo.
---
In: FOUR - A Rediscovery of the 'Tetragonus mundus'
Marten KUILMAN (1996/2011). Falcon Press, Heemstede.
ISBN 978-90-814420-1-5
4.9. The quadriga
The representations of a quadriga on Corinthian, Chalkidic and Attic vases marked the beginning of a stock motif. A variety in style was clear from the early days of the evolution in the Corinthian vases (600 - 500 BC). Quadrigae without a guide, one guide or a guide in association with the rider can be noted. The portrayals on Chalkidic vases showed a typical curvature of the breast of the horses. Often there was only one driver, with his head in an oblique position. The vases were presumably made in a relatively short period of time between 550 and 510 BC.
Representations of quadrigae were made on reliefs of bronze and clay and as on adornments and coins. The elaboration of forms was closely related to the painting on vases. Many coins minted in Chalkis - from the end of the six and the early fifth century BC - featured a quadriga. Chalkis and, a century later, Syracuse were colonial cities with a predilection for the quadriga.
The city of Syracuse, on the isle of Sicily, had a close alliance with the motif. The stamp cutters Euainetos, Eukleidas, Kimon and others shaped, around 400 BC, many medallions and coins with depictions of a quadriga. Around one and a half million dekadrachm were minted, of which some four hundred are still known to exist. LUNSINGH SCHEURLEER (1992) reported twenty-four varieties of the quadriga and at least forty-four stamps were used for the imprinting of 'La Bella' (the nimph Arethusa) on the backside of the coin. The water nymph Arethusa, often associated with dolphins, was a symbol of the city of Syracuse. The city, which was founded by the seafarers and merchants from Corinthe in 733 BC, kept a strong Greek character over the years.
This exceptional issue of money was probably connected with the autocratic government of Dionysios (405 - 367 BC), who needed much money to pay his soldiers. The mercenaries were recruited from Celtic tribes. They were called 'Gaesatae', a name derived from their spear (gaesa). It is obvious that the symbolism of the quadriga and the goddess Victory appealed to these hired soldiers with their cultural background rooted in central Europe. These people were part of the large migration movement, which started in the fifth century in the northern part of Europe (NASH, 1987; CUNLIFFE (1997), p. 68). Rome was plundered in 390 BC by the Celts and the oracle of Delphi was desecrated some hundred years later (279 BC) by Celtic war parties headed by Brennus.
HAFNER (1938), in his quest to find the roots of the motif, dated a cutted stone with a frontal quadriga from the 'transitory period between the mycenian and archaic-greek style period' (Furtwängler) and reckoned this specimen to be the oldest representation of the motif. He concluded that the scheme must have been known in the geometric art. The actual change from an agrarian/utility vehicle to a heroic/symbolic use of the quadriga was difficult to establish and both forms probably existed simultaneous in time.
Many Attic vases featured a quadriga in frontal view. A point of distinction was the person besides the quadriga, giving an explanation and commentary in captions. Furthermore, the breast of the horses was different from the Chalcidic and Corinthian representations. The oldest group was dated between 580 and 540 BC and had Corinthian influences. The younger group (of 540 - 130 BC) did not show further development of the breast musculature of the horses.
Bibl.:
CUNLIFFE, Barry (1997). The Ancient Celts. Oxford University Press, Oxford. ISBN 0-19-815010-5
HAFNER, German (1938). Viergespanne in Vorderansicht: die repräsentative Darstellung der Quadriga in der griechischen und der späteren Kunst. Neue Deutsche Forschungen Ab. Archäologie, Band 2, Junker und Dünnhaupt Verlag, Berlin.
LUNSINGH SCHEURLEER, Robert A. (1992). Euainetos in Amsterdam. Vereniging van Vrienden Allard Pierson Museum, Amsterdam. Mede-delingenblad nr. 53, april 1992. ISSN 09-159 X
NASH, Daphne (1987). Coinage in the Celtic World. B.A. Seaby Ltd., London. ISBN 0 900652 85 3
Hippolytus in a quadriga - Marten Kuilman (2020)
Photo.
---
In: FOUR - A Rediscovery of the 'Tetragonus mundus'
Marten KUILMAN (1996/2011). Falcon Press, Heemstede.
ISBN 978-90-814420-1-5
4.9. The quadriga
The representations of a quadriga on Corinthian, Chalkidic and Attic vases marked the beginning of a stock motif. A variety in style was clear from the early days of the evolution in the Corinthian vases (600 - 500 BC). Quadrigae without a guide, one guide or a guide in association with the rider can be noted. The portrayals on Chalkidic vases showed a typical curvature of the breast of the horses. Often there was only one driver, with his head in an oblique position. The vases were presumably made in a relatively short period of time between 550 and 510 BC.
Representations of quadrigae were made on reliefs of bronze and clay and as on adornments and coins. The elaboration of forms was closely related to the painting on vases. Many coins minted in Chalkis - from the end of the six and the early fifth century BC - featured a quadriga. Chalkis and, a century later, Syracuse were colonial cities with a predilection for the quadriga.
The city of Syracuse, on the isle of Sicily, had a close alliance with the motif. The stamp cutters Euainetos, Eukleidas, Kimon and others shaped, around 400 BC, many medallions and coins with depictions of a quadriga. Around one and a half million dekadrachm were minted, of which some four hundred are still known to exist. LUNSINGH SCHEURLEER (1992) reported twenty-four varieties of the quadriga and at least forty-four stamps were used for the imprinting of 'La Bella' (the nimph Arethusa) on the backside of the coin. The water nymph Arethusa, often associated with dolphins, was a symbol of the city of Syracuse. The city, which was founded by the seafarers and merchants from Corinthe in 733 BC, kept a strong Greek character over the years.
This exceptional issue of money was probably connected with the autocratic government of Dionysios (405 - 367 BC), who needed much money to pay his soldiers. The mercenaries were recruited from Celtic tribes. They were called 'Gaesatae', a name derived from their spear (gaesa). It is obvious that the symbolism of the quadriga and the goddess Victory appealed to these hired soldiers with their cultural background rooted in central Europe. These people were part of the large migration movement, which started in the fifth century in the northern part of Europe (NASH, 1987; CUNLIFFE (1997), p. 68). Rome was plundered in 390 BC by the Celts and the oracle of Delphi was desecrated some hundred years later (279 BC) by Celtic war parties headed by Brennus.
HAFNER (1938), in his quest to find the roots of the motif, dated a cutted stone with a frontal quadriga from the 'transitory period between the mycenian and archaic-greek style period' (Furtwängler) and reckoned this specimen to be the oldest representation of the motif. He concluded that the scheme must have been known in the geometric art. The actual change from an agrarian/utility vehicle to a heroic/symbolic use of the quadriga was difficult to establish and both forms probably existed simultaneous in time.
Many Attic vases featured a quadriga in frontal view. A point of distinction was the person besides the quadriga, giving an explanation and commentary in captions. Furthermore, the breast of the horses was different from the Chalcidic and Corinthian representations. The oldest group was dated between 580 and 540 BC and had Corinthian influences. The younger group (of 540 - 130 BC) did not show further development of the breast musculature of the horses.
Bibl.:
CUNLIFFE, Barry (1997). The Ancient Celts. Oxford University Press, Oxford. ISBN 0-19-815010-5
HAFNER, German (1938). Viergespanne in Vorderansicht: die repräsentative Darstellung der Quadriga in der griechischen und der späteren Kunst. Neue Deutsche Forschungen Ab. Archäologie, Band 2, Junker und Dünnhaupt Verlag, Berlin.
LUNSINGH SCHEURLEER, Robert A. (1992). Euainetos in Amsterdam. Vereniging van Vrienden Allard Pierson Museum, Amsterdam. Mede-delingenblad nr. 53, april 1992. ISSN 09-159 X
NASH, Daphne (1987). Coinage in the Celtic World. B.A. Seaby Ltd., London. ISBN 0 900652 85 3