Published Catalogue Text: Ancient Mediterranean and Near Eastern Bronzes at the Harvard Art Museums
Herakles stands with right knee raised, resting on an amphora (3.5 cm high and 2.15 cm in diameter), which lies on its side. He props his right elbow on his right knee, supporting his head on his hand as he leans over. His left leg stands on the ground, slightly bent at the knee. He holds his club down in his left hand propped on the ground.
The figure is beardless and nude. His chest muscles are relaxed as he leans forward. A crease across his waist is the natural result of a slouching posture. Genitalia are represented, as are the muscles of the shoulders, arms, and legs. Roughly incised lines indicate fingers and toes. His facial features are somewhat crude, particularly the eyebrows and large eyes, which are outlined by deep, inscribed lines. Tiny, punctuated semicircles represent locks of hair. An inscribed line along the spine marks the curve of the back.
The statuette stands on a base, perhaps of an Ionic column, indicating that the object was attached to an implement or utensil, probably as a finial from a candelabrum. Small, circular marks decorate the base along the edge of the upper register. On the lower register a slight beveling of the metal creates a horizontal band. The underside is hollow.
The workmanship suggests Etruscan manufacture of the middle to late fourth century BCE (1). The tired Herakles with wine-amphora was a popular theme in Etruria in the fourth century BCE, probably an adaptation or copy of a Greek statuary type. The image of the tired Herakles emerges c. 465-460 BCE and was first depicted on a metope from the Temple of Zeus at Olympia, on which Athena comforts the tired hero who has just defeated the Nemean lion, his first labor (2). Herakles stands in the center, resting his head on his hand and his right foot on the back of the fallen lion. In this prototype, the combative Herakles is replaced by a weary, worn figure resting after the struggle. Such depictions of the human condition typically mark Classical interpretations of Greek heroes (3). Variations seen in earlier statuettes of Lysippan poses with one knee raised, such as the Lateran Poseidon type and the so-called Lysippean Jason, may indicate early and late Classical inspirations (4).
The amphora may represent a prize for victory or hold the wine for the oinisteria, the libation poured as part of the hero’s cult. Most Etruscan candelabra of this period have been found in burial contexts. Candelaba, as luxury or high-status objects, were used to provide light for banquets and other important events; as grave gifts, they performed the same function for the deceased (5).
NOTES:
1. An iconographic parallel, although stylistically different, comes from Spina with two figurines, made from the same mold, coming from tomb 58-C of Valle Perga and dated c. 380-370 BCE; see E. Hostetter, Bronzes from Spina 1: The Figural Classes (Mainz, 1986) 227, nos. 23-24, pls. 28 and 29 (candelabra). These are mirror images of the Harvard example. The second, no. 24, also published in O. Ferrari, ed., Repertorio delle Opere d’Arte Trafugate in Italia 1: 1957-1964 (Rome, 1964) 13, no. 71. For other examples, see Kunstwerke der Antike: Auktion 22, Münzen und Medaillen (Basel), May 13, 1961, lot 25, classified as Etruscan of the fifth century BCE, although a different type than Spina; and 23, no. 75, an Etruscan bronze statuette from the late fifth century BCE.
2. The first metope over the west porch. For this metope and the complete repertoire, see E. Buschor and R. Hamann, Die Skulpturen des Zeustempels zu Olympia (Marburg an der Lahn, 1924) pl. 99; and B. Ashmole and N. Yalouris, Olympia: The Sculptures of the Temple of Zeus (London, 1967) 25, pl. 143.
3. Examples of the tired hero are found for other mythological figures, such as Perseus; see K. Schauenburg, Perseus in der Kunst des Altertums (Bonn, 1960) pl. 44.1, for an early Hellenistic example in a private collection, with right hand supporting head, left leg propped on a rock with knee bent, holding a sickle in his left hand. Other variations include stone sculpture in the Historischen Museum, Basel dated c. 450 BCE that shows Herakles in a similar pose; see K. Schefold, Basler Antiken im Bild (Basel, 1958) 23, no. 13a, pl. 13a (not that this one was not intended for use on a utensil). See also a Greek statuette in Hamburg, Museum für Kunst und Gewerbe, inv. no. 1969.200/St. 275, dated c. 450 BCE, which lacks amphora or club in R. Thomas, Griechische Bronzestatuetten (Darmstadt, 1992) 87-88, no. 74. The Hamburg piece is also published also in H. Hoffmann and F. Hewicker, Kunst des Altertums in Hamburg (Mainz, 1961) 31, no. 11; and H. Hoffmann, “Erwerbungen des Museums für Kunst und Gewerbe Hamburg 1963-1972,” Archäologischer Anzeiger (1974) 51-84, esp. 54, figs. 5.a-c. This example may portray an athlete instead of a hero, as attributes are missing, but still falls into the theme of the tired hero.
4. The Lateran Poseidon is now in the Museo Gregoriano Profano. David G. Mitten suggested these specific examples.
5. Hostetter 1987 (supra 1) 268 and 373-74.
Alexis Belis
