MEDALLION WITH PELEUS AND THETIS FROM THE NECROPOLIS OF APOLLONIA PONTICA Margarit DaMyanov (Sofia) in December 2003 rescue excavations were conducted at „Budzhaka“ locality – to the Southeast from main necropolis of apollonia Pontica in „Kalfata“ locality1. Sixteen graves were excavated, most interesting of which was the child grave #15. the body was inhumed in a deep rectangular pit with rounded corners. the skeleton was orientated with its head to the East, the arms were stretched along the body, and the legs were bent in the knees and turned to the left. numerous grave goods were unearthed: two local blackish oenochoae, two lekythoi – one red-igure and one black-glazed �(fig. 1)�� e�g�� �erraco��a igur�ne� (several seated goddesses, a horseman, and a boar�, a string of beads, and a silver g�lded medall�on. T�e g�f�� and mo�� of all ��e igur�ne� of �ea�ed godde��e� make us believe it was a grave of a young girl. the items discovered in the grave allow to a date of it in the third quarter of 5th c. BC to be proposed. the black-glazed lekythos has an exact analogy from grave 302 of the necropolis of apollonia (excavations of 1947–1949�, dated in the third quarter of the 5th c. BC..2 T�e red-igure lekythos, on the frontal side of which there is a depiction of a crawling infant, also has a parallel from apollonia3. according to the typology of t. ivanov of the pottery from the necropolis it could be attributed to type v4, dated generally to the latter half of the 5th c. BC. Some of ��e �erraco��a igur�ne� of �ea�ed godde��e� �Deme�er and Ap�rod��e) are al�o �nd�ca��ve of a da�e �n ��e ���rd quar�er of ���� cen�ury. S�m�lar igur�ne� from ��e necropolis in “Kalfata” locality are dated in this period5. A igur�ne dep�c��ng ��o women seated on a throne (most probably Demeter and Kore-Persephone� has also a parallel from the excavations of 1947–1949; it was not discovered in a grave and was dated by ts. Dremsizova in the late 5th c. BC.6 Figurines of boars were often discovered in graves of children dating from the third quarter of the 5th c. BC..7 W���ou� any doub�� ��e mo�� �n�ere���ng ind from ��e grave �� ��e ��lver medall�on. it was discovered together with the beads – on the left side of the chest. Having in mind the arrangement of the beads – apparently part of a string – we could 238 aCta MUSEi varnaEnSiS v assume that the medallion was also part of it. the ind�ng place of ��e bead� (and the medallion� – to the side of the body – does not allow us to interpret it with certainty as a personal ornament, although it could not be excluded the string to have been part of a necklace that later slipped to the side due to some disturbance. the medallion – now in a fragmentary state – had a round shape and a diameter of about 1.8 cm. (fig. 2a-b� as far as it could be judged, it was made on a die. Some fragments are missing from the left and the upper parts (including the loop, if there was one�. the lower side is entirely preserved and shows that the rim of the medallion was decorated with a cord-like edging. the edge on the right is bent up�ard� on ��e ield. T�e g�ld�ng �� pre�erved on many par�� of ��e igure�. In ��e ield� ��ere are ��o ma�n igure� dep�c�ed: a naked male and a dre��ed female one. T�e female igure �� �l�g��ly b�gger ��an ��e male. T�e igure� overlap eac� other and the male is in front. it is depicted in a movement to the left. the legs are spread open, the right one is bent in the knee and serves as a support, and ��e lef� �� ��re�c�ed back�ard�. T�e r�g�� foo� �� dep�c�ed �n proile� ��e lef� �� missing. the torso is depicted en face and slightly reclining to the left. the man is embracing the woman’s waist with his right arm that is bent in the elbow. His left arm is also bent in the elbow, but its upper part is pressed to the torso. the man’� �and� are jo�ned �n fron� of ��� c�e��. H�� �ead �� pre�en�ed �n proile� slightly inclined to the left – the impression is created that it is resting on the 239 Margarit Damyanov • MEDallion witH PElEUS anD tHEtiS FroM... 0 0,5 1 сm Fig. 2 �oman’� brea���. De�p��e ��e �mall ��ze of ��e igure �ome de�a�l� are v���ble – the knees, the muscles of the legs and the torso, the features of the face, locks of �a�r. T�e female igure ��a� �� par�ly ��dden by ��e male follo�� ��e po�e of ��e latter and also reclines to the left. Her right leg is bent in the knee, and the left is ��re�c�ed back�ard� – parallel �o ��e leg� of ��e male igure. W��� �er r�g�� arm that is bent in the elbow, the woman holds the man’s right elbow. Her left arm is also bent in the elbow and the hand is placed on the man’s head. the woman’s head is turned to her left and faces the opposite side compared to the man’s. the woman is dressed in a long chiton and the folds of its skirt follow the pose of her left leg. above the man’s right elbow the right breast of the woman is visible. the woman has also a cloak that passes beneath her right elbow, above the shoulder and be��nd ��e �ead and ��e lef� ��oulder. T�e end of ��e dre�� �� ly�ng �n ��e free space in the right upper part of the medallion. the composition is completed ���� a �mall igure of a l�on� ��and�ng on ��� ��nd leg� �n fron� of ��e �oman’� right leg. W�a� �e �ave �� ����ou� any doub� a my��olog�cal �cene� for ��e �den��ica��on of ���c� ��e l�on’� igure �� of pr�mary �mpor�ance. Numerou� �uc� �cene� on black- and red igure va�e� and o��er ��em� da��ng from ��e Arc�a�c and Cla���cal times allow us to identify the subject as the struggle of the hero Peleus with 240 aCta MUSEi varnaEnSiS v ��e �ea nymp� T�e���. Suc� �den��ica��on could expla�n ��e b�gger ��a�ure of ��e female igure – ��e �mmor�al godde�� �� compared ���� ��e mor�al man. according to one of the versions of the myth, Peleus saw the nereid on the seashore, chased her and prevailed in the struggle. according to another, more widespread version, Zeus gave thetis to Peleus – either because she rejected the amorous advancements of Zeus, or because it was foretold that the son thetis would bear to Zeus would overpower him. no matter the reasons, it was decided thetis to be given to Peleus, but only if he could conquer her. while struggling, ��e �ran�formed �er�elf �ucce���vely �n�o a �nake� l�on� ire� and �a�er – a g�f� she inherited from her father nereus, but Peleus managed to hold her. From their marriage achilles was born. *** the subject of the struggle of Peleus and thetis is well presented in the greek art of archaic and Early Classical times. according to r. vollkommer’s article in Lexicon iconographicum, Peleus appears in some 600 scenes.8 it is interesting to trace the chronology of these images. Maybe the earliest example is a Cretan dish with the struggle of Peleus and thetis, dated to the third quarter of the 7th c. BC.9 X. Krieger considered the earliest monument a Melian amphora with scene of „��alk�ng“ – �� could be da�ed �n ��e ir�� decade of ��e 6th c. BC.10 the huge amount of the scenes – some 500 of them – is concentrated in the period 570–450 BC, and they are particularly numerous in the last quarter of the 6th and ��e ir�� quarter of the 5th c. BC. on some 400 items, the struggle of Peleus and thetis is depicted. this subject was most popular in the years 520–460 BC, from which period we have some 350 such scenes. Most numerous are the small shapes of ��e la�er black-igure ��yle – mo�� of all lekythoi and other vessels for oil, but also some table amphorae (fig. 3). T�e red-igure va�e� are con��derably le�� �n number and date from the early period of this technique. Krieger notes that in the period from mid-5th c. until 420 BC there were no scenes with the struggle of Peleus and thetis; such images reappear in the late 5th c., but rarely and with a different content11. the examples from the 4th c. BC are even less numerous. a. Metzger included in his monograph on the scenes on the attic pottery from the 4th c. BC two vases from the so-called “Kerch style” – a pelike from the British Museum (from a grave in the necropolis of Kamiros on rhodes� and a hydria from the louvre12. the former is considered work of “Marsias Painter” and is dated around 360 BC. the latter is dated around 340 BC.13 241 Margarit Damyanov • MEDallion witH PElEUS anD tHEtiS FroM... Fig. 3 *** the myth of Peleus and thetis is relatively rarely presented on other monuments of the ancient art, except for the painted vases. in the group of the so-called „Melian“ relief plaques there are two examples, the iconography of which is very similar to the one of the medallion from apollonia: Peleus has grabbed thetis by the waist, and on the other side of the nereid there is a lion standing on its hind legs (fig. 4a�14. the proposed dating is in the second quarter of the 5th c. BC..15 the earliest known example of such a scene depicted on a metal item is one of the so-called „shield bands“ from olympia (ca. 550–540 BC�; Peleus is presented chasing thetis, which transforms into a snake and a lion16. next in time are three tripod-stands discovered in an Etruscan tomb17. on the decorative plaques between the legs of the tripods, three almost identical scenes are depicted: Peleus chasing thetis, from the shoulder of which a snake or a lion head rises. the tripods could be dated ca. 530–520 BC..18 the struggle of Peleus and thetis is also depicted on Etruscan mirrors from the early 5th c. BC..19 242 aCta MUSEi varnaEnSiS v Fig. 4 Except for the medallion from apollonia, i know only two more jewellery items ���� ��e ��ruggle of Peleu� and T�e��� dep�c�ed on ��em. T�e ir�� example �� a pair of rings discovered in a grave in Eretria,20 and the second is a golden armlet from the burial mound Kul-oba on the taman Peninsula in the northern Black Sea area..21 on the earrings – between a rosette above and a pelta below – a kneel�ng male igure �� pre�en�ed� �old�ng a �oman dre��ed �n a long chiton; on ��e oppo���e ��de of ��e female igure ��ere �� a l�on ��and�ng on ��� ��nd leg�. the scene is framed on both sides with coiling snakes (fig. 5�. the author of the publication dates the earrings in the time around 420 BC..22 the armlet is a singleton and is formed of a golden band with upturned longitudinal edges. on this base, ten golden relief plaques were soldered (fig. 6�. the plaques were die-formed and some detailing was added from the front. the joints between them are covered with two rosettes. on the plaques two alternating scenes are presented. on one of them the struggle of Peleus and thetis is presented, and on the other – Eos carrying off tithonos (or Kephalos�. the plaques with Peleus and thetis are almost twice as high as those with Eos and tithonos. in the latter case, bo�� igure� are dep�c�ed �n ��e�r en��re�y. We could a��ume ��a� ��e plaque� ���� Peleu� and T�e��� �ere made ���� a b�gger d�e and could no� i� on ��e armle�’� 243 Margarit Damyanov • MEDallion witH PElEUS anD tHEtiS FroM... base in their original form. For that reason, the ancient artisan had to cut off part of the scene and only ��e igure� of T�e��� and ��e l�on were entirely preserved. From Peleus only the upper part of the torso, the head and the arm are visible. the complex of Kul-oba is dated in the last quarter of the 4th c. BC,23 but according to williams and ogden the armlet is much earlier and could be dated in the second quarter of the 5th c. BC. the date of our medallion – the third quar�er of ��e �ame cen�ury – i�� �� �n ���� group of jewellery items. *** we could add a few words about the iconography of the struggle of Peleus and thetis. an evolution could be seen in the scene in the period of 6th–4th c. BC, but in the composition there are always an�mal igure� �ncluded ��a� repre�en� ��e transformations of the goddess. in most cases these are snakes and lions, but in some cases mythical beasts are depicted24. on some earlier monuments it was attempted the nereid to be presented in the course of her transformation and a l�on’� �ead� �nake�� or lame� are pre�en�ed emerging from her shoulders. according to a. Snodgrass, this is an example of the so-called „synoptic“ technique, through which the ancient painter wanted to present several successive episodes in one image. another interpretation was also proposed – that when depicting the struggle of Peleus and thetis the painter wanted to picture her metamorphoses and in the same time to state her basic human shape. as – if Peleu� �a� dep�c�ed ig���ng a l�on or a �nake – ��e �pec�a�or could �n�erpre� ��e myth in a wrong way25. in our case, the small lion serves as an indicator of the transformation thetis is undergoing. Xenia Krieger is author of a monograph on the scenes of the struggle of Peleus and thetis on greek painted pottery, and her analysis is based on a catalogue of 263 images26. She distinguished three groups of scenes according to action and 244 aCta MUSEi varnaEnSiS v respectively the moment of the myth presented: scenes of „stalking“, of „chasing“ and of Umklammerung – „inseparable binding“, i.e. the struggle, during which Peleus managed to hold the nereid despite her transformations. on the medallion from apollonia, a scene of the last group is presented – the hands of the hero are tightly tied together around the goddess’ waist. this is the most widespread type of scenes – in Krieger’s catalogue 219 vases with such images are included (compared to only 26 with chasing�27. the composition on the medallion from apollonia follo�� more or le�� ��e �conograp�y deined by Kr�eger. Peleus and thetis are pictured in motion and their legs overlap. the arms of the goddess are in a defensive pose – usually one or both arms are placed on the hero’s shoulders. Peleus’ pose follows the most widespread variation – slightly bent forward – that conveys the dynamic of the moment in the best possible way. the hold of his hands – tightly held together – is set apart as variant F28. Peleus is usually depicted dressed; more rarely he is pictured naked – on black- and on redigure va�e�. Accord�ng �o Kr�eger� �n ��e early per�od �� was an athlete’s nakedness, but later a distinctive erotic element appeared. in the cases when Peleus is depicted naked, he is also beardless; usually his hair is short. thetis is usually depicted wearing a chiton and a cloak. only on 4th c. BC monuments she appears naked. on most scenes on vases, there are also other characters �ncluded – �n mo�� ca�e� lee�ng Nere�d�� bu� al�o nereus, Hermes (the messenger carrying Zeus’ will�, and ��e cen�aur C��ron �Peleu�’ �u�or). On our monumen�� ��e l�m��ed ield of ��e medall�on ruled ou� ��e po���b�l��y �o �nclude more igure�. when comparing the medallion with the scenes on painted vases we, could see some �conograp��c d�fference�. One of ��em concern� ��e arrangemen� of ��e igure�. A� vollkommer noted, as a rule Peleus is always depicted on the left and thetis on the right. this is true not only for the painted pottery, but for other types of monuments as well – for example the Melian relief plaques and the armlet from Kul-oba. in 245 Margarit Damyanov • MEDallion witH PElEUS anD tHEtiS FroM... our case, the arrangement is reversed. the earrings from Eretria, however, illustrate bo�� var�an��. One more rule �n ��e arrangemen� of ��e igure� �� al�o no� ob�erved. on most scenes, the Peleus’ leg that is moving forward is overlapped by thetis’ leg that is stretched to the back. on the medallion from apollonia, both legs of the hero are presented in the front. there are differences also in picturing the metamorphoses of the goddess. as it was already said, only on earlier monuments the nereid itself �� pre�en�ed a� �ran�form�ng – ��roug� �nake�� l�on’� �ead or lame� r���ng from �er body. in most cases, the transformations are shown as animals attacking Peleus. W�en ��ere �� a igure of a l�on� �� u�ually cl�mb� up or do�n ��e �ero’� �or�o. On black-igure va�e�� ��e bea�� u�ually cl�mb� up Peleu�� and on ��e red-igure �cene� it emerges from the goddess’ shoulder and climbs down the hero’s shoulder and arm29. T�e compo����on on ��e medall�on� �n ���c� ��e igure of T�e��� �n fac� �epara�e� Peleus from the lion (the spectator could decide that the beast is attacking the nereid�, is very rarely shown on vases30. However, it was depicted on other types of monuments: for example on the above-mentioned Melian relief plaques, on the earrings from Eretria and on the Kul-oba armlets. these, however, are all monuments of the plastic arts and one could presume they followed a different tradition or prototype. *** the personal ornaments made of precious metals that were discovered in the necropoleis of apollonia are extremely rare31. the same is true about the items decorated with mythological scenes. this fact makes the medallion discussed here even more interesting. is it possible the scene on the medallion to have had a more �pec�ic mean�ng ��a� �nluenced ��� depo����on �n ��e grave? it is to be noted that the struggle of Peleus and thetis is often pictured on items related to the funerary practices. it was already said that in the latter half of the 6th c. and �n ��e ir�� �alf of ��e 5th c. �uc� �cene� �ere pa�n�ed on black-igure lekythoi and alabastra – vessels used in the burial rituals and deposited as gifts in the grave. the above-mentioned Melian relief plaques were also discovered in graves and it is thought that they were used for decoration of furniture and chests32. Many other items with scenes with Peleus and thetis were also found in graves (it should be said however that it is normal intact items to be discovered in undisturbed grave complexes�. in the 1930s Ch. Picard published a series of studies, in which he presented the 246 aCta MUSEi varnaEnSiS v thesis about the scenes of abduction, struggle and marriage between god/goddess and mortal as symbolizing immortalisation. according to him, the struggle of Peleus and thetis evaluated in the course of time from the struggle of the hero with the forces of nature (presented by thetis in her role of Potnia Theron� to the taming and the appeasing of the goddess that gave her husband immortality33. in a later study on the „sea folklore“ in ancient greece Picard wrote about the special force of the nereids to give their lovers immortality. in this context, he proposed a new interpretation of the „Monument of the nereids“ in lycia – the decoration of the building represented the idea of the immortality34. the same conception was proposed regarding a series of bronze hydriai with mythological scenes, including the abduction of oreithia by Boreas – according to Picard these were vases manufactured only for the needs of the burial rite and the scene was „a clear allusion to the celestial immortalisation through abduction.“35. g. richter opposed such an interpretation of the hydriai. S�e d����ngu���ed ive groups of vases according to the scene depicted: Eros; Eros and Psyche; Dionysus and ariadna; Dionysus and a satyr; Boreas and oreithia. the author notes that the couples depicted are more indicative of love and marriage and not of death. She suggested they could have been given as gifts to young brides36. nevertheless the closely related scenes, the uniform style (we are dealing most probably with the production of a single workshop from the third quarter of the 4th c. BC� and the discovery of the hydriae only as cinerary urns in graves raise some doubts37. roberts also mentions that the hydriae were also used in the wedding rites. we could al�o adduce ��e ��udy of Ru�� Re�m on ��e conla��on of �edd�ng and burial rites in Classical greece. the author notes the very similar actions that accompanied the wedding and the funeral – e.g. the washing and the anointing with scented oils of the bride and respectively of the dead body (and the same ve��el� �ere u�ed). Accord�ng �o Re�m ���� conla��on �� be�� demon��ra�ed �n ��e use of marble loutrophoroi as grave monuments for the unmarried38. Chr. Sourvinou-inwood regards the myth about Peleus and thetis as a paradigm of marr�age. Accord�ng �o �er� ��e �conograp��c �ype „lee�ng �oman“ �ymbol�ze� the unmarried girl – the abduction and the rape have „initial“ value and represent the taming of the „wild“ nature of the girl. in the case of thetis, the supernatural forces of the nereid gave the artists the chance to depict the subject in narrative terms. the myth is somewhat special because it is the only case a mortal chases a god (and not vice-versa�. However, as Peleus carried the will of the gods, he was made a temporary and „honorary“ god (which brings us back to the idea of the immortalisation�39. 247 Margarit Damyanov • MEDallion witH PElEUS anD tHEtiS FroM... another observation – though somewhat to the side of the main topic – could be adduced in support of the suggestion that the deposition of the medallion in the grave could �ave a deeper ��gn�icance. I� �a� already �a�d ��a� ��e �econd �e� of sheet relief plaques on the golden armlet from Kul-oba was decorated with ��e igure� of ano��er my���cal couple – Eo� and T���ono� �or Kep�alo�). W�a� is to be noted is the choice of the subjects – two couples of god and mortal, but each one a mirror image of the other. it could hardly be a coincidence that the same subjects (and with the same iconography� were depicted on the two Melian relief plaques that were discovered in the above-mentioned grave from the necropolis of Kamiros on rhodes (fig. 4b�. Eos and thetis are closely related to one another. Both goddesses had love affairs with mortal men, and the sons they gave birth to – Memnon and achilles – met in a duel in the trojan war. there is something else – E. vermeule noted that Eos is the only female counterpart of the greek gods-rapists (Zeus, Poseidon, apollo, Boreas etc.�; only Eos abducted mor�al men ����� �� ��a� �� dep�c�ed on ��e rel�ef plaque – a ��nged female igure carry�ng off a muc� �maller male igure). Mo�� probably ��a� �a� ��e rea�on ���� myth to have been chosen as the ideal complement of the other “extravagant” couple – Peleus and thetis. C. vermeule connected Eos with the beginning of a new life beyond death – the waking up from deep sleep in the morning. She quotes one of the Herakleitos’ Homeric allegories, according to which there was a custom, when burying at sunrise the body of a young man, to say euphemistically that the Day (a goddess in the greek mythology� abducted the deceased through her erotic desire for him40. T�e marr�age ��eme could al�o ind ��� place �n ��e �n�erpre�a��on of ��e con�ex� of the medallion from the necropolis of apollonia, as the rest of the grave goods suggest we are dealing with a grave of young (unmarried� girl. it is also possible the two ideas – the marriage and the immortality – to complement one another. these are certainly only speculations and we cannot rule out the possibility the medallion to have been placed in the grave only because it was a favoured personal belonging of the girl. 1 i would like to express my gratitude to D. nedev, Director of the archaeological Museum �n Sozopol� ��o conduc�ed ��e excava��on� and allo�ed me �o publ��� ���� �n�ere���ng ind. 2 Т. Иванов. Антична керамика от некропола на Аполония. – В: Аполония. Разкопките в некропола на Аполония през 1947–1949. –1949. 1949. �о�ия� 196�� c. c. 173. 17�. 3 a lekythos, discovered in a cistern in the old town of Sozopol, unpublished. it is part of the exposition of the archaeological Museum in Sozopol. 4 Т. Иванов. op.. cit., ., 86, c.. 33, 58, 62. 248 aCta MUSEi varnaEnSiS v 5 Ц. Дремсизова. Теракоти от некропола на Аполония. – В: Аполония. Разкопките в некропола на Аполония през 1947–1949. �о�ия� 196�� c. c.. ��1–��5. 801–805. 6 Ц. Дремсизова. op.. cit., ., c.. 803. 7 Ц. Дремсизова. op.. cit., ., c.. 873–878. –878. 878. 8 R.. ����������.. Peleus.. – in:: lexicon iconographicum Mythologiae Classicae, vol. vii.1, 1994, S. 268. 9 R. ����������. op. cit., S. 78. From the same time there is a clay relief from tegea, but ��e �den��ica��on of ��e female igure a� T�e��� �� dub�ou� – R. ����������. op. cit., S. 91. 10 X. �������. Der Kampf zwishen Peleus und thetis in der griechischen vasenmalerei. Eine typologische Untersuchung. westfälischen wilhelms Universität, 1973, S. 9, 13; R. ����������. op. cit., S. 61. 11 X. �������. op. cit., S. 139. 12 H. �������. les representations dans la ceramique attique du ive siècle. Paris, 1951, p. 273. 13 on the date – cf. R. ����������. op. cit., S. 91. it should be noted that in these times the meaning of the scene had already changed. in the scenes from the early period the accent is on the struggle of the hero with the nereid. in the latter half of the 5th c. BC it gradually transformed itself in some kind of an erotic game. on the two vases from the 4th c. BC the presence of Erotes in the scenes and the depiction of thetis naked demonstrate the complete break with the old tradition. not the struggle (although the metamorphoses of the goddess are presented�, but the love story is what interested the painters – cf.. C. P�ca�d. l’invention et l’adaption des groupes d’enlevment dans l’art grec. – genava Xiii, 1935, p. 71; X. �������. op. cit.,, S. 139. in a different context, Metzger underlines the role of an intermediary in human or divine love affairs that Eros played on the vases from the Kerch style, and most of all in scenes of chase or abduction – H. �������. op. cit., p. 41–42, 51. 14 P. �ac����a��. Die Melishen reliefs. Berlin–wilmersdorf, 1931, S. 14–15. 15 R. ����������. op. cit., S. 93–94. 16 R. ����������. op. cit., S. 71. 17 G. H. C�a�� C�a��. three Bronze tripods Belonging to James loeb, Esq. – aJa Xii, 1908, p. 287–323. 18 R. ����������. op. cit., S. 74–76. Chase mentions that the composition on one of the tripods is very similar to what has been written by Pausanias regarding the chest of the Corinthian tyrant Kypselos, displayed in olympia (v, 18, 5�. Kypselos ruled in the third quarter of the 7th c. BC, but according to most scholars the item described by Pausanias could be dated in the beginning of the following century (Ca�p�n���, T. H. art and Myth in ancient greece. thames and Hudson,, 1998, p. 11–12; ����������. op. cit., S. 4, S. 92�. 19 R. ����������. op. cit., S. 100–102; L. B. �an d�� ����. interpretatio Etrusca. greek Myths on Etruscan Mirrors. J.C. gieben, amsterdam, 1995, pp. 34–42. 20 S. Ca���n. an archaic Eretrian goldsmith and an archaic Eretrian Sculpture. – Journal international d’archéologie numismatique XX (1920�, 1922, pp. 89–96. 21 D. �����a��, �. ��d�n. greek gold. Jewelry of the Classical world. Harry n. abrams, inc., Publishers – the Metropolitan Museum of art, 1994, 140, p. 82. 22 D. �����a��, �. ��d�n. op. cit., 57, p. 9. 23 В. А. Ильинская, А. И. Тереножкин. �ки�ия �II–I� –I� I� вв. �о н. �. �иев� 19��� с. ��. 24 S. ���d���d. images of Myths in Classical antiquity. Cambridge University Press, 2003, pp. 166–167; cf. �. �ac�a��a. thetis. – in: lexicon iconographicum Mythologiae 249 Margarit Damyanov • MEDallion witH PElEUS anD tHEtiS FroM... Classicae, vol. viii.1, 1997, p. 8. 25 �. Da���. a Convention of Metamorphosis in greek art. – JHS 106, pp. 1986, 182–183. 26 X. �������. op. cit. 27 A �undred and ��x�y-�even are on black-igure va�e� and 5� – on red-igure one�. Mo�� numerous are the lekythoiof ��e la�e black-igure �ec�n�que. Among ��e red-igure va�e� mo�� numerous are the kylikes. 28 on the medallion of a well-known kylix by the Peithinios Painter a similar scene is presented, and the tightly held hands of the hero are depicted as a stylized meander-like ornament, symbolizing his will not to let the nereid go – S. ���d���d. op. cit., p. 167. Krieger sets apart this scene as a separate sub-variation of the iconography of the hold – the so-called M�andergriff �andergriff andergriff. 29 X. �������. op. cit., S. 68. 30 T�e only example I could ind �� a black-igure alabastron from ��e ir�� quar�er of ��e 5th c. BC – cf. P. Bad�n��. la laine et le perfume.. Epinetra et alabastres – forme,, iconographie et function.. leuven, 2003, Pl.. 41, a17. 17. in this case however there is another lion behind Peleus. 31 During the excavations in the necropolis of apollonia in “Kalfata” locality from 1947–1949 in almost 700 graves were discovered most of all ornaments made of bronze and some glass items. the jewellery made of precious metals is extremely rare – only some silver bracelets were unearthed. golden items were discovered only in the necropolis in the Sea garden of Sozopol, in three graves from the 3rd c. BC – Я. Младенова. Накитите от некропола на Аполония. – В: Аполония. Разкопките в некропола на Аполония през 1947–1949. �о�ия� 196�� с. �9�–��4. –304. 304.. it I� is �� interesting �n�ere���ng to �o note no�e that ��a� glass gla�� beads bead� appeared appeared for for ��e ir�� ��me �n ��e grave� from ��e m�d-4th c. BC on – cf. Я. Младенова. Пре�мети от стъкло и алабастър от некропола на Аполония. – В: Аполония. Разкопките в некропола на Аполония през 1947–1949. –1949. 1949. �о�ия� 196�� с. ��5– �1�.. in In this ���� regard� regard, the ��e grave grave under under consideration here is also an exception. 32 T. H. Ca�p�n���. op. cit., p. 12. 33 C. P�ca�d. op. cit., p. 71. 34 C. P�ca�d. néréides et sirènes: observations sur le folklore hellénique de la mer. – annales de l’École des hautes etudes de gand, tome ii, 1938, p. 136–140. 35 C. P�ca�d. trois urnes cinéraires sculptées du Musée Condé a Chantilly. – Monuments et mémoires de la Fondation Eugène Piot, 37, 1940, p. 99–103. 36 G. �. A. R�c����. a Fourth-century Bronze Hydria in new york. – aJa 50, 1946, pp. 361–367. 37 H. R������. Pots for the living, Pots for the Dead. were Pots Purpose-made for the Funeral or Reu�ed? Can In�cr�p��on� T�ro� L�g�� on ��e Problem? – In: Ra��je� A.� N�el�en� M.� rasmussen, B. (eds.�. Pots for the living, Pots for the Dead (acta Hyperborea 9�, 2002, p. 20 ff. 38 R. R���. Marr�age �o Dea��. T�e Conla��on of Wedd�ng and Funeral R��ual� �n Greek tragedy. Princeton University Press, 1994, p. 11 ff. 39 C. S�����n��-Inw��d. “reading” greek Culture. texts and images, rituals and My���. Oxford� Clarendon Pre��� 1991� p. 65–67. I� ��ll be �ufic�en� �o adduce ��o example� from the archaic period – the well-known dinos of the painter Sophilos from the acropolis of athens (ca. 580 BC� and the so-called “François vase” (ca. 570 BC�. on both vases the procession of gods going to Peleus’ wedding is depicted. 40 E. ��������. aspects of Death in Early greek art and Poetry. University of California Press, 1979, pp. 162–164. 250 aCta MUSEi varnaEnSiS v МЕДАЛЬОН С ПЕЛЕЙ И ТЕТИДА ОТ НЕКРОПОЛА НА АПОЛОНИЯ ПОНТИКА МАРгАРиТ ДАМяНоВ През �екември ���� г. при спасителни разкопки в местността Бу�жака край �озопол са проучени 16 гроба от некропола на Аполония Понтика. Е�ин от тях� �етският гроб №15� прави впечатление с богатите си �арове� които позволяват �а бъ�е отнесен към третата четвърт на � в. пр. Хр. Наре� с глинените съ�ове и теракоти в гроба е открит и е�ин ря�ък за този некропол пре�мет – позлатен сребърен ме�альон с �иаметър около � см. Ме�альонът е �рагментиран� но изобразената на него сцена изглеж�а се е запазила изцяло. В полето има �ве основни �игури – на гол мъж и на облечена с �ълъг хитон и наметало жена. Фигурата на жената е малко по-голяма. Тя е изобразена в �вижение наляво� като главата º е обърната наза�. Мъжът� който също е в �вижение наляво� е прегърнал или сграбчил жената с �ве ръце през кръста. главата му е наклонена и изглеж�а така� сякаш почива на гър�ите на жената. Вляво от �вете �игури има малко изображение на лъв� който се катери по �есния крак на жената. Без съмнение става въпрос за митологична сцена. Позата на �игурите и най-вече присъствието на лъва позволяват тя �а се интерпретира като борбата на героя Пелей с нереи�ата Тети�а �от чийто брак се раж�а героят Ахил). Лъвското изображение символизира транс�ормациите� през които морската богиня преминава по време на борбата. Тази сцена е разпространена в гръцката вазопис� най-вече в перио�а меж�у 5�� и 46� г. пр. Хр.� откогато са известни около �5� примера. През І� в. пр. Хр. сцената губи популярност. Значително по-ря�ко Пелей и Тети�а се изобразяват в �руги �орми на античното изкуство. освен ме�альона от Аполония има само още �ва ювелирни пре�мета� къ�ето е пре�ставена тази сцена – е�на гривна от могилата �ул-оба на Таманския полуостров и чи�т обеци от гроб в Еретрия. гривната е �атирана във втората четвърт на � в. пр. Хр.� а обеците – около 4�� г. пр. Хр. Датировката на ме�альона също го поставя в тази група пре�мети. Прави впечатление� че като обща композиция на сцената трите паметника са много близки. �ато се имат пре�ви� изключително ре�ките случаи� при които в гробове от класическия некропол на Аполония са поставяни накити от благоро�ен метал� може би е оправ�ано �а се потърси някакво по-специално значение на този ме�альон и на сцената върху него. В литературата от�авна присъства и�еята за 251 Margarit Damyanov • MEDallion witH PElEUS anD tHEtiS FroM... брака меж�у бог/ богиня и смъртен като символ на обезсмъртяването. �ъщо така митът за Пелей и Тети�а се възприема като символизиращ брака по принцип и е свързан с укротяването на „�ивата“ приро�а на неомъженото момиче. Темата за брака може �а намери място в интерпретацията на гробния комплекс от Аполония� тъй като останалите гробни �арове пре�полагат �а става �ума за мла�о �неомъжено) момиче. Не е изключено също така �вете и�еи – за брака и за обезсмъртяването – �а се �опълват. Разбира се не можем �а пренебрегнем възможността ме�альонът �а е бил поставен просто като любимо украшение. 252