- Marjatta Nielsen –
from Greek mythology and especially dramatic literature, local stories (the latter ones
are almost absent here) or biographical representations. Many of the Greek themes may
contain learned, eschatological messages: divine will, commanding the death of a hero.
But the philosophical level is not necessarily the only reason for the choice of subject.
Four times the motif of the “Recognition of Paris” was chosen for a chest, a popular
motif because of its self-evident connection with funerary games (Fig. 9.4): Priam’s son,
the Trojan prince Paris had been exposed as a child in order to prevent the disasters
predicted by his sister Cassandra. As a young shepherd he won the games arranged in the
memory of the royal prince, believed to be dead. Angry with the “low-class” winner, the
other princes, his brothers, tried to kill him. When Paris sought rescue at the altar with
the victory palm in his hand, he was recognized as Priam’s son and was rescued. What
followed, is also represented on some of the relief.
Many other motifs have less evident explanations for their popularity. Some recurrent
motifs were perhaps chosen in order to connect later generations with the founders of
the tomb (like the Calydonian Boar Hunt, Fig. 9.5). Perhaps even the immediate visual
impression of the scene has played an important role. Many scenes show banquets, as if
to reproduce the image of the banqueting lid fi gures and banquets arranged at funerals.
The priestesses pouring libations on the heads of Orestes and Pylades hold in their
hands libation bowls similar to those in the male lid fi gures’ hands, and probably those
used for libations at funerals. Both the Calydonian Boar and some heroes are placed in
a grotto, which might resemble the entrance of the tomb itself. Especially many reliefs
in the fi rst row show horse races (e.g. three moments of the Pelops cycle; cf. Fig. 9) – all
galloping in the same direction, from left to right, as if to create an illusion of horse
races arranged at funerals. The galloping horses also fi t well with the circular form of the
tomb, reproducing an illusion of a horse race arena. Furthermore, duel scenes also fi t in
the context of funerary games.
A particularly elaborate chest – regrettably fragmentary – was placed in front of the
central pillar (Fig. 9.6).^17 The front shows Odysseus rescuing his companions at Circe’s
Figure 9.4 The Inghirami Tomb: a female lid fi gure with a fan and rich jewelry,
and a chest with the Recognition of Paris, circa 100 bc. Florence, The Archaeological
Museum, inv. 78520. Museum photo (UV 1, 161).