![]() ![]() Like almost all bronze original works of Greek antiquity, the original of the Athena–Marsyas group of Myron is lost. So-called Finlay Krater, Athens, National Archaeological Museum Athens Aristotle followed him here and invoked directly the disdain of Athena, but thought the story of the distortion of her face as too superficial a reason for her reluctance and sought to intellectualized the interpretation: since one cannot blow and speak at the same time, the aulos is not conducive to spiritual development. Nevertheless, Plato rejected the "flute-makers and flute-players" as useless in the Republic. However, this is contradicted by the speech of Alcibiades in Plato's Symposium, in which he compares the verbal power of Socrates with the musical effect of aulos and Socrates directly with Marsyas. The advocates of this theory invoked the anecdote handed down by Plutarch, that Alcibiades had refused to learn the instrument. ![]() It has been argued that the aulos fell out of fashion following the Persian Wars, which was accompanied by an anti-Boeotic attitude, since the sound of the instrument was too reminiscent of the shawms of the Persian army and the Boetians fighting by their side. century the fundamental work on the subject has been "Pallas Musica and Apollo Marsyas-Töter" by Karl August Böttiger. Ĭompetition between Apollo and Marsyas, on the right edge, the flaying sarcophagus of the late 3rd century, Louvre-Lens Hyginus also writes that Athena cursed anyone who will play the instrument in the future. According to Hyginus, Marsyas was the name of the satyr, and not only was the reflection in the water but also the laughter of Juno and Aphrodite the cause of Athena letting the aulos drop. As a result, the satyr was defeated in the competition – which was the subject of another sculpture group – and was flayed alive. The discarded instrument was found by a satyr who soon mastered the art of playing to such an extent that he challenged Apollo to compete. Athena, however, who saw her reflection in a lake while playing, threw the new instrument away horrified at the disfiguration of her face. Even Apollo was so taken with the instrument that, according to the Greek poet Korinna, he learned the aulos playing. In Greek mythology, Athena was thought to be the inventor of the aulos, with which, according to the poet Pindar, she imitated the funeral dirge of the Gorgons after the beheading of her mortal sister Medusa and gave it as a gift to humans for this purpose. from Mantineia, National Archaeological Museum, Athens MNA 216 Myth and auletics Ĭompetition between Apollo and Marsyas, around 330 BCE. Müller first connected these bare notes in the literature with one another and two archaeological testimonies, an Attic coin from the imperial period and a late republican relief krater, the so-called "Finlay Krater", both of which depict Athena in a dramatic confrontation with Marsyas, and within which the depictions of the satyr show close similarity. Pausanias writes: “In this place is a statue of Athena striking Marsyas the Silenus for taking up the flutes that the goddess wished to be cast away for good.” Pliny records: “His other works include Ladas and a ‘ Discobolos’ or Man Throwing a Discus, and Perseus, and The Sawyers, and The Satyr Marvelling at the Flute and Athene”. The sculpture is mentioned twice in the ancient sources. ![]() The work depicted the satyr Marsyas picking up an aulos dropped by Athena. Now lost, it has been reconstructed from copies, coins, other visual sources and literary testimonia. The Athena Marsyas Group was a bronze sculptural group by Myron that stood on the Acropolis of Athens in the high classical period, dated to c 450 BCE. Athena-Marsyas Group, Rome, Museo Gregoriano Profano ![]()
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